Jaques (Chaim Yaakov) Lipchitz was a world-renowned Jewish cubist sculptor who shared a notable and personal relationship with the Rebbe. Born to a religious family in Lithuania, he moved to France in 1909, where he studied sculpture and began his artistic career. With the Nazi invasion of France in 1941, he immigrated to the United States and settled in New York.
Beginning in 1959, Lipchitz developed a deep connection with the Rebbe and maintained an ongoing correspondence. In his letters to Lipchitz, as well as to his colleague, the sculptor Erna Weill, the Rebbe encouraged the idea that artistic work could be elevated and directed toward divine service—while also cautioning against forms that could border on graven images, as prohibited in the Ten Commandments.
In 1960, the chairman of the Jerusalem Museum’s art committee—American showman Billy Rose, a personal acquaintance of Lipchitz—was planning a sculpture garden for what would soon become the Israel Museum in Jerusalem. Lipchitz agreed to donate one of his works for the project. The proposal, however, met with widespread opposition from individuals and groups who objected to displaying sculptures in the holy city.
Lipchitz, who considered his artistic work an inherently spiritual act and an expression of holiness, was deeply troubled by these objections. He wrote to the Rebbe, asking for his view on the matter and seeking support for the project. The following is a free translation of his draft letter (originally written in French):
“There is a current situation that relates to our correspondence. You have certainly read the story of the Garden of Sculptures projected for Jerusalem, offered by a New Yorker by the name of Billy Rose. He donated his whole collection of sculptures and intends to build a unique garden [for them]. It is a good deed for Israel and for its spiritual expansion. Since then, a big scandal has erupted. The people of Agudath Israel are opposed to this project, and use the Mosaic Law as a pretext.
Very honored Rebbe, I do not doubt that all the people in Agudath Israel are guided by the best and most pure intentions. But how will they be able to accomplish the prophecy that "from Zion the Torah will come" if they oppose our endeavor?
Please tell us, honored Rebbe, if somewhere in our texts there is a formal opposition to a garden such as this one. These are not statues to be adored as idols; it is rather for prayers in honor of our most powerful G-d, who has given the power to man to create.
Would you please, honored Rebbe, raise your authoritative voice in our favor? I am sure that by doing so, you will gain a very big mitzvah, and will help simultaneously to allow the holiness of our adored country to shine.”
Published below is the Rebbe’s reply — the first in a fascinating four-part correspondence that continued over the following two years. The full exchange, including Lipchitz’s own letters, reveals a rare and thought-provoking dialogue between the Rebbe and one of the twentieth century’s leading Jewish artists, exploring the boundaries of faith, creativity, and the sanctity of Jerusalem.
