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Michal Na'aman, painter was born in Kvutzat Kinneret, Israel in 1951.
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Barak Nachsholi, Painter. b. Germany. Immigrated as young boy. 1940-53 Lived at Kibbutz Ein Hamifratz. Studies: Bezalel, Jerusalem; with Marcel Janco, Rudi Lehman and Michael Gross. Chairman of the Rehovot Association for Visual Arts.
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Shulli Nachshon, Painter and Sculptor. b. 1951, Morocco. Immigrated 1955. Studies: 1970-73 Hebrew University, law; 1975-80 Haifa University, psychology; 1980-86 Haifa University, art and philosophy. Prize: 1990 Herman Struck Prize. Environmental Sculptures: 1983 Hof Argaman, Akko; 1985 Wall Painting at City Hall, Akko; 1986-88 Chen Boulevard, Kiriat Bialik and Amigor Company; 1990 Windows for Abarbanel Synagogue, Kiriat Haim. Lives in Nofit.
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Neustein, Joshua, Painter. b. 1940, Danzig. Immigrated 1964. Studies: Pratt Institute, New York; Art Students’ League, New York. Prize: 1970 Erest Prize for Painting and Sculpture, Jerusalem. As a child wandered in Siberia, Uzbekistan, returned to Poland, then to Austria; 1951 reached New York, where he studied in a Yeshiva as well as art studies. Since 1979 lived in New York.
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Nikel, Lea, Painter. b. 1918, Jitomir, Ukraine. Immigrated 1920. Studies: With Gliksberg; 1948-49 with Avigdor Stematsky and Yehezkel Streichman. 1950-61 Lived in Paris; 1967-70 lived in Rome; 1973-77 lived in New York. Prizes: 1967 Migdal David; 1972 Sandberg Prize for Israeli Art, Israel Museum, Jerusalem; 1982 Dizengoff Prize; 1994 Israel Prize.
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Nona Orbach, Sculptor. b. 1954. Studies: 1985 Graduated from Oranim Art Institute, Tivon; 1988 Lasley College, Boston, U.S.A., M.A. in Expressive Therapy. Lives and works in Tivon.
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Nachum Gutman Gutman studied briefly at Bezalel in 1912 but was among the students who, even in the years preceding World War I, rebelled against its old-fashioned methods of instruction. In his paintings of the 1920s, Gutman forged a synthesis between his quest to convey the unique experience of building a new life in the Land of Israel and his adoption of the modernist trends in European art. This duality is reflected in Gutman's exotic images of Arabs, painted in an eclectic style inspired by Henri Rousseau, Raoul Dufy, Renoir, and Picasso. He depicted shepherds and shepherdesses, farming girls washing naked in the orange groves, and Arab villagers - a hymn to the cultivators of the land, expressing the primeval link to the soil. Gutman's series depicting brothels in Jaffa captures the instinctual and sensuous tang of the Middle East. Gutman was also a prolific illustrator, often drawing inspiration from ancient Asian motifs such as Assyrian reliefs and Egyptian wall paintings. From the 1930s onward, the characteristic massivity of his earlier figures gave way to a buoyant lightness. He was a master of the pictorial narrative, rendered by means of a tew summary lines and a decorative range of colors. Gutman's large-scale mosaic at Bialik Square in Tel Aviv, installed in the 1970s, tells the story of Tel Aviv-Jaffa.
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Naftali Golomb had more than twenty one-person exhibitions in Israel and abroad, and participated in numerous group shows. Was a member of the Radius group. Taught at the Avni Instutute of Art in Tel Aviv between 1985-93. He published four books on the theory of art, ethics and politics. His works can be seen at Disocunt Bank, Tel Aviv; IDB House, Tel Aviv; Coca Cola, Bnei Brak; Jerusalem Convention Center; and the artist's studio, Ramat Chen, Israel. Lives and works in Israel.
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Nikolay Bezzubov was born in 1975 in Kiev. Since 1986 lived in Leningrad. Repatriated in 1990. Lives in Jerusalem. Student of Bezallel Academy of Art and Design, Department of Graphic Design.
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Born in Tel Aviv, Nomi Wind graduated in English literature and education from the Hebrew University in Jerusalem. Since 1980, she creates in fiber. Nomi Wind's art evolved as the result of the 1967 war, and the direct encounter with the population of East Jerusalem, the markets, the sounds and smells of the old city and the desert with its quiet beauty and its dwellers still untouched by civilization. The Bedouins seemed to be the masters and owners of the desert, where, in an ancestral fashion, they pitched their tents of camel wool and lived with their camels and sheep. At the beginning, Nomi Wind was just touching the material: the raw hand spun stained wool, smelling of sheep, which fascinated her and seemed to be the traces of the authentic desert. She then knew that this was the new vernacular through which she would express her innermost experiences. At first, in a spontaneous surge, she created "art to wear" which allowed her to experience and study the material. She felt that people who saw and felt her creations understood the fact that they carried a message besides their being wearable. This was followed by a second intermediary stage in which her work became figurative. The final phase brought her to create large, three dimensional abstract sculptures influenced by the desert, the power and the intensity of the wild open spaces to which she relates in a most personal and unique fashion. Besides dealing with issues of space, these works also introduced the use of new materials such as stone and iron. Among many places, Nomi Wind's work was shown in one person exhibitions at the Jerusalem Artists' House (1995), Jerusalem Center for Performing Arts (1994), The Tower Gallery (1994), The Corinne Maman Ashdod Museum (1993), The Museum of Beduin Culture, Joe Allon Center (1993), Wilfried Museum, Kibbutz Hazorea (1993), The Jerusalem Theater Lobby (1994), Hebrew University Botanical Gardens, Jerusalem (1999).
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