In April 1923 Rubin came
to settle in Palestine. His first year in the new country proved
decisive for his artistic development. His works underwent a gradual
change, in both subject matter and style: landscapes
and urban scenes from the early days of Tel Aviv, executed in
a new, carefree style characterized by a bright palette, flattened
color surfaces, and a naοve imagery, came to replace the preoccupation
with asceticism and suffering of his Romanian days. Yet some of
his works from this time still reflect the Symbolist style, Christian
themes, and religious spirit of his earlier, pre-Palestine period.
Important works created during
this year include the woodprint series "The God-Seekers," and the paintings
Moses and the Burning Bush and Self-Portrait with a Flower. "The
God-Seekers" features depictions of daily life secular and religious
in the Land of Israel alongside religious themes reminiscent
of Rubin's Romanian style. These include a prophet at prayer,
a figure of Jesus displaying his wounds seemingly influenced
by Christian Resurrection scenes and Moses facing the burning
bush. The depiction of Moses at the moment of receiving the divine
mission, also portrayed in an oil painting from the same year,
is unique in that it extends the biblical commandment "Put off
your shoes from your feet" (Exodus 3:5) to the removal of clothing
from the entire body. Nudity in these images suggests a stage
of initiation, a kind of rebirth into the divine mission entrusted
to the hero of the scene. In the painting, Rubin's choice to cast
himself as Moses is of particular interest, revealing the artist's
self-perception as the bearer of a new artistic message that will
replace the outdated artistic trends of the Bezalel school. When
depicting himself as a pioneer, holding in one hand the white
lily which in Christian imagery symbolizes the birth of the
Messiah and in his other hand the artist's tools, Rubin seems
to be alluding to his new role: that of the artist-pioneer, whose
pantbrushes will revive the desert of Israeli art.