In this work, he is remembered for leading a group of civic, religious, labor, racial, and business leaders whose single goal was the passage and subsequent ratification of the United Nations Genocide Convention.

In 1903 James, Schell & Elkus was named permanent counsel for a merchants' association that pooled its resources in order to take legal action against bankrupts who attempted to defraud their creditors.

At this time, the head of the reorganization committee asked Rosenberg to replace Maxwell's retiring president, Benjamin Briscoe, move to Detroit, and manage the company.

The investors had all been short-selling Stutz, that is to say they placed bets that the share price would fall by borrowing large blocks of stock for which they promised to pay at a future date.

After the company's president, Allan A. Ryan, used his control over the remaining (non-shorted) shares to drive the price up, the short-sellers were expected to pay a great deal more than they had hoped.

"[23] Rosenberg helped to engineer a settlement between Ryan and the group of investors through mediation by a committee of bankers (all of whom were to be "men of prominence and standing in the community, who would have the confidence of all parties").

"[7] Exercising what one reporter called a "mysterious fascination" over bankers in the United States and Europe, Kreuger was able to build a small Swedish sign-painting business into a global conglomerate of 150 manufacturing plants with more than 60,000 employees that was said to produce 75% of the world's matches.

[2][30] When this empire crashed in 1932, a New York bank, the Irving Trust Company, was named receiver and trustee for the bankrupt firm and it retained Rosenberg, Goldmark & Colin as its attorneys.

The theory held and gradually put into practice by James N. Rosenberg, the senior counsel, however, was that there was no sound basis for Kreuger's match concessions once the depression started and the economic apple cart was everywhere upset.

During those years he participated in amateur theatricals and in 1895 was a member of a group called the Don Quixote Club which gave a benefit show for New York's Hebrew Charities.

Many many urban dwellers were able to transition to factory farming but others were at best reluctant to adopt the new way of life; the Soviet government gave both funds and cooperation, but was unwilling to cede necessary authority to the project.

The Nazi regime was at first amenable to Jewish emigration, but war conditions quickly made mass action impossible as travel through Europe and across the Atlantic became increasingly perilous.

[55][56] Composed of leaders from more than 45 civic, religious, labor, racial, business, and legal groups, the committee helped to achieve support for ratifying the convention from President Truman and key members of his administration.

[57] In 1925, Rosenberg had published a law review article on the League of Nations World Court in which he advocated compulsory jurisdiction enforceable by moral suasion and public opinion but not force of arms.

[62] In 1921, he told another interviewer that although he was a professional artist, he did not exhibit in commercial galleries for the money he could earn from sales but rather "for the fun of it," and in 1928 he added, "I certainly want people to buy [my paintings].

"[63][64] In 1911, he achieved a feat that was out of reach for most beginning artists when Louis Katz gave him a solo exhibition at his eponymous commercial art gallery on West 74th Street in Manhattan.

Crediting Rosenberg with a "poetic sense," the paper's critic said the 40 pastels in the show were "sensitive and quietly impressive rather than bold and big in style, color," and added, "the subtle handling of themes are important points in the work."

Of two of them, this critic wrote, "'Wet Street,' is a poetic transcription of a scene many times noted by the artists of the city, and 'Steam and Mist' is another successful version of the mysterious and exquisite effects with which New York clothes her medley of architecture.

A critic for the New York Tribune praised one of the former, "Scattering Clouds," as a "strong piece of work" revealing "deep blue mountains" against an "exquisite turquoise sky.

[78][note 11] In 1929, Rosenberg departed from the style of painting and subject matter of his earlier work when he produced what turned out to be his best-known piece, a lithograph called "Dies Irae" (Day of Wrath), showing the October 29, 1929, Wall Street Crash as a horrific scene of destruction.

The conjunction of the show, the publication, and his birthday was the impetus for a lengthy profile of his career in art that appeared in the Baltimore Sun in which the interviewer said Rosenberg's age was deceptive.

Called a "romantic realist," he adopted Paul Cézanne as his model and explicitly rejected the New York art world's shift toward abstraction in the late 1940s.

Rosenberg contributed poems called "Ah, She Lurks," "Let Us Love and Laugh To-day," "Man," "God," "Darkness," "Fragment," and "The Nineteenth Psalm.

Having already established himself as lawyer, philanthropist, and artist, Rosenberg made a name for himself as dramatist with the publication, in 1917, of a play, "The Return to Mutton," and its performance in Manhattan the following year.

Throughout his adult life he wrote articles, books, and opinion pieces aimed at protecting freedom of speech, ending the persecution of minority communities, aiding refugees, mitigating conflict among nations, and preventing the recurrence of genocide.

[114] In April 1921, he reviewed the large exhibitions of the National Academy of Design and Society of Independent Artists of that season, deploring widespread imitation of outmoded European styles on the one hand and praising instances of American originality on the other.

[2] A Painter's Self-Portrait (New York : Crown Publishers, 1958) has a great number of reproductions of his work but gives his life story and is a more balanced account than the title suggests.

[130][131] Rosenberg's great-uncle, Elkan Naumburg, created a fund for an annual series of summer orchestra concerts in New York's Central Park and donated the band shell where the performances are held.

[138] Louis Naumburg's daughter, Carrie (1849-1947) was a philanthropist and wife of Judge Josiah Cohen (1840-1930), president of Rodef Shalom Congregation and, after Oliver Wendell Holmes, the second oldest jurist in the country.

A tribute from the officers and directors of the Joint Distribution Committee described him as a "noted attorney and distinguished artist, above all a great humanitarian, one who devoted more than half his life to the service of needy Jews overseas and at home.