Yemini Silversmiths history 04

	YAACOV YEMINI Born in Jerusalem in 1929, Yaacov has spent his entire life in close proximity to the family workshop. In 1947, he began his studies in the metalwork department of the "New Bezalel" (which was reopened in 1935 under the direction of new immigrants from Germany). During this time period, the institution was directed by Mordechai Ardon, a graduate of the Bauhaus; the metal department was headed by Yehuda Wolpert and David Gumbel. In the course of his studies, which he completed in 1950, Yaacov absorbed novel German design principles: functionalism, clean lines, geometricality, an absence of romantic ornamentation and mechanistic aesthetics. However, in keeping with family tradition, Yaacov expanded the Yemenite influence in the "New Bezalel" by complicating the universal language of modernistic formalism with the Yemenite-style flowery filigree ornamentation that is often set with stones. He worked with his father in their home studio for many years, supplementing Yehia's traditional line with a newer, more stylized and abstract one, one which also uses squarer lettering. In this manner, he has distinguished his own work from earlier pieces by being less burdened with ornamentation. BOAZ YEMINI Born in Jerusalem in 1956, he joined Bezalel's silversmith and goldsmith department upon completion of his military service. The department under Arie Ofir, like other sections of Bezalel, was at the time experiencing a shift towards innovative Western design. Boaz Yemini pursued his studies till 1981, absorbing the abstract geometrical minimalism that the department's teachers had adopted under the influence of advanced Anglo-Saxon sculpture. Totally lean forms; the blending of silver with novel materials (brass, perspex, wood and iron, for example); an inclination towards modularity, serialization, aesthetic simplicity and a striving for the utmost uniformity - these are untraditional values Boaz Yemini has brought to the design of traditional silver utensils. His early work as silversmith in the family studio has shown a continued inclination towards forms and figures, which were in part surrealistic, organic, and fluid; nevertheless, his other creations are characterized by starker forms, injecting the traditional articles with an innovative and sophisticated structuralism (with an occasional leaning towards kineticism). Throughout his career, Boaz has added a variety of modes and tangents to ornamentation, his Yemenite affiliation.
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YAACOV YEMINI Born in Jerusalem in 1929, Yaacov has spent his entire life in close proximity to the family workshop. In 1947, he began his studies in the metalwork department of the "New Bezalel" (which was reopened in 1935 under the direction of new immigrants from Germany). During this time period, the institution was directed by Mordechai Ardon, a graduate of the Bauhaus; the metal department was headed by Yehuda Wolpert and David Gumbel. In the course of his studies, which he completed in 1950, Yaacov absorbed novel German design principles: functionalism, clean lines, geometricality, an absence of romantic ornamentation and mechanistic aesthetics. However, in keeping with family tradition, Yaacov expanded the Yemenite influence in the "New Bezalel" by complicating the universal language of modernistic formalism with the Yemenite-style flowery filigree ornamentation that is often set with stones. He worked with his father in their home studio for many years, supplementing Yehia's traditional line with a newer, more stylized and abstract one, one which also uses squarer lettering. In this manner, he has distinguished his own work from earlier pieces by being less burdened with ornamentation.

BOAZ YEMINI Born in Jerusalem in 1956, he joined Bezalel's silversmith and goldsmith department upon completion of his military service. The department under Arie Ofir, like other sections of Bezalel, was at the time experiencing a shift towards innovative Western design. Boaz Yemini pursued his studies till 1981, absorbing the abstract geometrical minimalism that the department's teachers had adopted under the influence of advanced Anglo-Saxon sculpture. Totally lean forms; the blending of silver with novel materials (brass, perspex, wood and iron, for example); an inclination towards modularity, serialization, aesthetic simplicity and a striving for the utmost uniformity - these are untraditional values Boaz Yemini has brought to the design of traditional silver utensils. His early work as silversmith in the family studio has shown a continued inclination towards forms and figures, which were in part surrealistic, organic, and fluid; nevertheless, his other creations are characterized by starker forms, injecting the traditional articles with an innovative and sophisticated structuralism (with an occasional leaning towards kineticism). Throughout his career, Boaz has added a variety of modes and tangents to ornamentation, his Yemenite affiliation.