DOCSLIB.ORG

Judenmord-Extract.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Judenmord-Extract.Pdf JUDENMORD Art and the Holocaust in Post-war Germany Kathrin Hoffmann-Curtius with Sigrid Philipps REAKTION BOOKS In Memory of my Grandmother Emma Hummel née Reis, Mainz, 27 September 1880 – Krefeld, 3 April 1962 and my great-aunt Barbara Fischer née Reis, Mainz, 9 January 1895 – Auschwitz, 20 October 1943 Published by reaktion books ltd Unit 32, Waterside 44–48 Wharf Road London n1 7ux, uk www.reaktionbooks.co.uk First published by Reaktion Books in 2018 English translation by Anthony Mathews Translation © Reaktion Books 2018 Bilder zum Judenmord © 2014 by Kathrin Hoffmann-Curtius Originally published by Jonas Verlag, Marburg, 2014 The translation of this work was funded by Geisteswissenschaften International – Translation Funding for Humanities and Social Sciences from Germany, a joint initiative of the Fritz Thyssen Foundation, the German Federal Foreign Office, the collecting society vg wort and the Börsenverein des Deutschen Buchhandels (German Publishers & Booksellers Association). The author acknowledges additional support by the Akademie der Künste, Berlin, Kunstsammlung. All rights reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers Printed and bound in China by 1010 Printing International Ltd A catalogue record for this book is available from the British Library isbn 978 1 78023 907 1 Contents Foreword to the English Edition 7 Introduction 8 1 Prequel Images 22 2 The Human Figure, 1945–9 32 3 Early Series 66 4 Captured in One Picture 140 5 A Confession 168 6 Remembering in the 1950s 170 7 Remembering Again: The Early 1960s 207 8 The Past in the Present: Commenting on the Auschwitz Trial 238 References 319 Bibliography 355 Acknowledgements 381 List of Illustrations 383 Index 393 1 Prequel Images he Nazi period was not the first time that Jews were subjected to deadly attacks; quite early on pogroms were captured in images and widely T known about. The question is whether this German history of anti- Judaism and anti-Semitism is also reflected in the drawings and paintings that were made after 1945.1 As early as 1493 the same woodcut of Jews being burned alive was shown as many as three times in the Nuremberg chronicle of the world by Hartmann Schedel (illus. 2). The illustration was inserted into the text whenever ‘evil deeds’ are mentioned that were attributed to the Jews and whenever there are reports of their alleged desecrations of the Sacred Host in various German towns.2 This extremely realistic portrayal of the burning alive of Jews has re- mained in the popular mind right up until modern times, and is recalled in the graphic representations of gassing by both Lea Grundig and Ludwig Meidner (see illus. 41 and 42). Whereas, however, the image in the late medieval illustrated book of world history was understood in relation to the torments in Hell as an inevitable punishment, in their 1940s graphics the two exiled Jewish artists expressed sorrow at the terrible suffering of their peo- ple. In this sense they were countering the anti-Semitic imagery of the Nazi propaganda that did not so much portray acts of violence as emphasize the alleged danger that the Jews presented. In the 1950s Lidy von Lüttwitz (see illus. 140) used the ancient woodcut as a model for the memorial at Auschwitz. In Germany the few other representations of pogroms before 1933 referred mainly to the cruel acts of persecution in Tsarist Russia in the 1880s and those carried out during the civil wars there.3 As images of grief and fore- warning, they have been represented principally by Jewish artists. In 1904 in Exile (illus. 3), Samuel Hirszenberg portrayed the mass exodus following the 23 Prequel Images 2 Hartmann Schedel, ‘Burning Alive of Jews’, from Schedelsche Weltchronik (Nuremberg, 1493), woodcut. pogroms of 1903.4 In a large painting a long procession of male and female figures is moving through a hostile-looking landscape. Their clothing and headgear are varied and indicate a range of social classes, all walking close to- gether, sharing the same fate. The painting has disappeared; in the interim it was widely distributed as a postcard bearing the title Golus and referring to any exile since the destruction of the Second Temple.5 It became a prototype for the representation of Jewish refugees and has clearly influenced the works of art discussed in this book more than Hirszenberg’s Wandering Jew of 1899, portraying a massacre.6 For Jakob Steinhardt in 1913, it may have been both the contemporary ac- cusations of ritual murder current in Russia at the time and those in Zerkow in Poland in his youth that were the motivation behind his two woodcuts7 and the dry-point etching (illus. 4) depicting pogroms. The compositional arrangement of these works, Lea Weik concluded, harked back to the cop- per engraving by Johann Michael Voltz on the bloody acts of violence against Jews in Frankfurt am Main in 1819.8 In this drawing, and in one of the two woodcuts of 1913, gangs approaching from the left are attacking Jews on the right who are already overpowered, while in the right-hand foreground, among those that have been clubbed, there is an old bearded Jew holding up his hands to the heavens, representing the lamenting Jew and prophet, a grieving figure that Steinhardt was particularly preoccupied with at the time.9 With what seem wildly rapid strokes, the whole event is etched into a city street scene, as in the case of Voltz, but significantly Steinhardt added on the horizon a church tower topped by a cross. In a 1914 lithograph Max Liebermann recalled the pogrom in Bessarabia ten years previously. Only in the background did he suggest the attacks by 3 Samuel Hirszenberg, Exile, 1904, postcard. 4 Jakob Steinhardt, Pogrom, 1913, dry-point etching. 25 Prequel Images 5 Max Liebermann, the military on horseback, whereas he placed a monumental female figure in Kischinew: To my Beloved the centre of the picture following a pictorial arrangement that he often used Jews (The Czar), from (see illus. 218). Fleeing from her assailants out for plunder and carrying her Kriegszeit Künstlerflugblätter, child and all her belongings in her arms, she can be viewed as an allegory of III/16 (September 1916), 10 lithograph. the persecuted Jews. The print with the titleKischinew (illus. 5) appeared in the magazine Kriegszeit in 1914 published by Paul Cassirer and justified 6 Willy Jaeckel, Massacre the German attack on Tsarist Russia. In the same series of Künstlerflugblätter of the Jews, from Kriegszeit (artists’ flyers) the non-Jewish Willy Jaeckel also published the drawing Massacre Künstlerflugblätter, XXXII/24 (March 1915), lithograph. of the Jews of 1915 (illus. 6). He emphasized the rape of Jewish women by men with fur caps, here presumably indicating Russians; at the time Russia was at war with the German Reich. The artist was harking back to a popular image in war propaganda, using the defilement of women in war as a means of blackening the enemy.11 Lea Grundig, after her first arrest and under the influence of the Nuremberg Race Laws in Germany around 1935 or perhaps during her stay in Switzerland, etched Pogrom (illus. 7) as part of the series The Jew is Guilty about the perse- cution at the time in Poland.12 The same gesture by a boy terrified to death is documented in the well-known photograph from the Stroop Report on the Warsaw Ghetto Uprising, with which the ss demonstrated their victory over the Jews in 1943 (see illus. 153). Grundig placed the viewer in the same pos- ition as the firing squad and so presented him with the threat of murder of the extended family before his very eyes. 26 Judenmord Even though many artists witnessed the start of assaults by the Nazis after 7 Lea Grundig, Pogrom, 1933, apart from Grundig there are not many other commentaries on them. drawing 5 from the series The The painter Ludwig Meidner, libelled and driven into exile by the Nazis, and Jew is Guilty, 1935, etching. who in Cologne had experienced the pogrom against Jews and their prop- erty on Reichskristallnacht in 1938, devoted an impressive drawing13 (illus. 8) as a memorial to these aggressive acts by the Nazis. Two religious Jews, pre- sumably rabbis, lamenting in the midst of destroyed and burning synagogues and the remains of their contents, are juxtaposed by Meidner with an angel- like vision in a bright robe and with curly hair. This figure is pointing its right forefinger at Hebrew letters14 resembling the Writing on the Wall at Belshazzar’s Feast, but indicating on a white scroll – not on the wall as in Daniel 5:5 – the date equivalent to 10 November 1938 in the Jewish calen- dar. By inscribing this on a scroll, Meidner was writing the date into the long history of persecution of the Jewish people. He was linking Jewish history to contemporary politics in Germany by making reference back to the text of 8 Ludwig Meidner, In the prophet Daniel and the subsequent tradition of Christian iconography. Memory of our Destroyed Its message is that the figure pointing to the scripture is intended to be the Synagogues in Germany, prophet Daniel, who is interpreting the writing as a prophecy of the coming 1939, chalk and charcoal end of Belshazzar’s rule. Opposite him, in the way the scene is normally on paper. 28 Judenmord represented, is the terrified king, the only one to see the message. But in this position Meidner placed the despairing rabbis bewailing the burning of the synagogues, heedless of the written signs.
Load more

Recommended publications
  • Visual Arts in the Urban Environment in the German Democratic Republic: Formal, Theoretical and Functional Change, 1949–1980
    Visual arts in the urban environment in the German Democratic Republic: formal, theoretical and functional change, 1949–1980 Jessica Jenkins Submitted: January 2014 This text represents the submission for the degree of Doctor of Philosophy (in partial fulfilment of its requirements) at the Royal College of Art Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from this thesis may be published without proper acknowledgment. Author’s Declaration 1. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. 2. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted. Acknowledgements I would like to thank the very many people and institutions who have supported me in this research. Firstly, thanks are due to my supervisors, Professor David Crowley and Professor Jeremy Aynsley at the Royal College of Art, for their expert guidance, moral support, and inspiration as incredibly knowledgeable and imaginative design historians. Without a generous AHRC doctoral award and an RCA bursary I would not have been been able to contemplate a project of this scope. Similarly, awards from the German History Society, the Design History Society, the German Historical Institute in Washington and the German Academic Exchange Service in London, as well as additional small bursaries from the AHRC have enabled me to extend my research both in time and geography.
    [Show full text]
  • Vortrag Eckhart Gillen Über Lea Grundig
    Jüdische Identität und kommunistischer Glaube Lea Grundigs Weg von Dresden über Palästina zurück nach Dresden, Bezirkshauptstadt der DDR 1922-1977 Für Maria Heiner und Esther Zimmering Karoline Müller, die als erste westdeutsche Galeristin mitten im Kalten Krieg 1964 und 1969 Lea Grundig in ihrer Westberliner „Ladengalerie“ ausgestellt hat, schreibt in ihren „Erinnerungen an Lea Grundig“: „Lea Grundig, die von wenigen sehr geliebt wurde, wird auch über ihren Tod hinaus gehasst. Sie war sehr skeptisch, wenn ein Andersdenkender zu ihr freundlich war. Bei einem Lob aus dem anderen Gesellschaftssystem müsse sie ihr Werk überdenken: ‚Was ich mache, ist Gebrauchskunst. Ob es Kunst im akademischen Sinne ist, interessiert mich nicht. Ich bin eine Agitatorin.“1 In der Frankfurter Allgemeinen Zeitung wurde sie 1969 in einer Kritik ihrer Ausstellung in der Ladengalerie „Chef-Propagandistin“ der DDR tituliert. 2 Unter den Funktionären der SED galt sie als herrisch, kompliziert und empfindlich als eine, die sich störrisch gegen die geschmeidige Anpassung der Parteilinie an die Routine des „realen Sozialismus“ in den Farben der DDR gewehrt hat. Reformer und Dissidenten in der DDR hielten sie für eine Stalinistin. Beide Seiten sahen in ihr eine gläubige Kommunistin, die im Grunde unpolitisch und naiv gewesen sei. Nach dem überraschenden Wechsel von Walter Ulbricht zu dem angeblichen Reformer Erich Honecker beklagte sie, dass plötzlich alle Porträts des Staatsratsvorsitzenden aus der Öffentlichkeit verschwunden seien und Ulbricht, trotz seiner Verdienste um die DDR von heute auf morgen der „damnatio memoriae“ verfallen sei.3 In der Frankfurter Rundschau erklärte sie 1973 wenige Jahre vor ihrem Tod 1977 anlässlich der Ausstellung aller Radierungen und des Werkverzeichnisses in der Ladengalerie: „Ich sage ja zur Gesamtentwicklung, zum Grundprinzip absolut und mit meiner ganzen Kraft ja.“4 Selbst den westdeutschen Feministinnen war sie zu dogmatisch und politisch.
    [Show full text]
  • Hans Grundig's Masterful
    Martin Schmidt An Iconic Work of New Objectivity: Hans Grundig’s Masterful “Schüler mit roter Mütze” The artistic ethos of the painter Hans Grundig is reflected in his attempt to conjoin the sometimes one-dimensional worldview of politically informed art with a more universal human outlook. This is to say that in addition to his overriding preoccupation with the social conditions that prevailed during his turbulent times – particularly class conflicts –, he was nonetheless able to paint with a deeply felt lyricism. Without this aspect, his art would probably have come across as passionless and merely declamatory. And so we always find the human being as the key point of reference for his care and concern, not just ab- stract principles. A highly idiosyncratic way of looking at things shines through Grundig’s work, one that mixes naiveté with artifice, pro- clamation with lyricism, and that supercharges non-descript details with a deeply felt, magical poetry. Lea, the school friend who later became his wife and life’s companion, and whom he fondly referred to as his “silver one” in his memoirs, described him as “a dreamer and warrior rolled into one.” He wanted his art Karl Hubbuch. The schoolroom. 1925. Oil/cardboard and wood. Private Col- to have a social impact, of course. Yet he was also well aware that lection choosing the right side in class warfare, as demanded by the Ger- man Communist Party (KPD) and later by its East German succes- seems designed for titanic hands, assuming spatial logic is applied. Grundig evi- sor (SED), was an artistic dead end that usually produced less than dently is unconcerned about the plausibility of his center-line perspective.
    [Show full text]
  • Download As Pdf
    Journal of Historical Fictions 1:1 2017 Natasha Alden – Jacobus Bracker – Joanne Heath – Julia Lajta-Novak – Nina Lubbren – Kate Macdonald The Journal of Historical Fictions 1:1 2017 Editor: Dr Kate Macdonald, University of Reading, UK Department of English Literature University of Reading Whiteknights Reading RG6 6UR United Kingdom Co-Editors: Dr Natasha Alden, Aberystwyth University; Jacobus Bracker, University of Hamburg; Dr Joanne Heath; Dr Julia Lajta-Novak, University of Vienna; Dr Nina Lubbren, Anglia Ruskin University Advisory Board Dr Jerome de Groot, University of Manchester Nicola Griffith Dr Gregory Hampton, Howard University Professor Fiona Price, University of Chichester Professor Martina Seifert, University of Hamburg Professor Diana Wallace, University of South Wales ISSN 2514-2089 The journal is online available in Open Access at historicalfictionsjournal.org © Creative Commons License: Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) Reading 2017 Contents Victims, heroes, perpetrators: German art reception and its re-construction of National Socialist persecution Johanna Huthmacher 1 Curating the past: Margins and materiality in Sydney Owenson, Lady Morgan’s The Wild Irish Girl Ruth Knezevich 25 Contentious history in “Egyptian” television: The case of Malek Farouq Tarik Ahmed Elseewi 45 The faces of history. The imagined portraits of the Merovingian kings at the Versailles museum (1837-1842) Margot Renard 65 Masculine crusaders, effeminate Greeks, and the female historian: Relations of power in Sir Walter Scott’s Count Robert of Paris Ioulia Kolovou 89 iii Victims, heroes, perpetrators: German art reception and its re-construction of National Socialist persecution Johanna Huthmacher, Panorama Museum Bad Frankenhausen, Germany Abstract: Shortly after World War II, the German artists Horst Strempel and Hans Grundig created works that depicted National Socialist persecution.
    [Show full text]
  • The Military History Museum in Dresden: Between Forum and Temple Author(S): Cristian Cercel Source: History and Memory, Vol. 30, No
    The Military History Museum in Dresden: Between Forum and Temple Author(s): Cristian Cercel Source: History and Memory, Vol. 30, No. 1 (Spring/Summer 2018), pp. 3-39 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/10.2979/histmemo.30.1.02 Accessed: 19-06-2018 08:16 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to History and Memory This content downloaded from 78.48.172.3 on Tue, 19 Jun 2018 08:16:18 UTC All use subject to http://about.jstor.org/terms The Military History Museum in Dresden Between Forum and Temple CRISTIAN CERCEL This article analyzes the Military History Museum (MHM) in Dresden against the backdrop of recent theoretical elaborations on agonistic memory, as opposed to the cosmopolitan and antagonistic modes of remembering. It argues that the MHM attempts to combine two functions of the museum: the museum as forum and the museum as temple. By examining the concept underpinning the reor- ganization of the permanent exhibition of the MHM, and by bringing examples from both the permanent and temporary exhibitions, the article shows that the discourse of the MHM presents some relevant compatibilities with the principles of agonistic memory, yet does not embrace agonism to the full.
    [Show full text]
  • Bucerius Newsletter Winter 2014
    Fall 2014 On September 18 the Bucerius Institute Together with the Haifa Center for German organized together with the Rosa Luxemburg and European Studies (HCGES) the Foundation and the Gottlieb Schumacher Bucerius Institute will open the academic Institute a symposium about the artist Lea year 2014/15 on October 30, presenting Grundig . Dr. Eckhard Gillen from Berlin, Oliver the play: “The Inheritents of the Silence” . Sukrow from Heidelberg and Dr. Thomas Flierl The play depicts a meeting between Esther, from Berlin introduced Lea Grundig as an artist, the daughter of Holocaust survivors and discussed her work and also spoke about her Eva, the granddaughter of a Nazi officer. identity as a German, a communist and a Jew. After struggling with their own past they are The exhibition: Lea Grundig in Dresden and able to find a common language and Palestine 1933-1948, is shown in the Igal together to overcome the silence of the Pressler Museum, Wolfson Street 54, in Tel Aviv second generation together. The play will and at the Jewish Museum in Frankfurt a.M. take place at 18:00 at the Edmond Safdie- Auditorium, Mulit-Purpose-Building. During the summer break, Dr. Amos Morris - From June 16-18, the International Reich , Director of the Bucerius Center, went to Consortium of Research on Antisemitism Europe to extend the centers research frame. As and Racism (ICRA) held the international part of the international research group:”History conference: “Narratives of Violence” at the of Race and Eugenics” he participated in a Central European University of Budapest. conference in Cork in Irland.
    [Show full text]
  • 109Th CAA Annual Conference Program
    109th CAA Annual Conference Welcome to the Full Conference Schedule Registration Access Dates: Virtual Book & Trade Fair: January 27 – March 12, midnight EST. Session content: Friday, February 5 – March 15, midnight EST. During this time all pre-recorded content is available 24hrs a day to registrants according to access level (full, single day, free & open programs). Each session has up to 90 minutes of pre-recorded content, available play on demand. Each session also has a scheduled live online Q&A between Feb 10 – 13, 2021. Live Q&As 10:00–10:30 AM / 12:00–12:30 PM / 2:00–2:30 PM / 4:00–4:30 PM / 6:00–6:30 PM EST CAA will hold its 109th Annual Conference as a virtual program, February 10-13, 2021, as an initial part of the association’s digital transformation. Providing content in a virtual format preserves and enhances access to the program and allows conference attendance to expand beyond boundaries embracing a global audience. This document includes all events ordered chronologically. All events are held online, registration allows access to content. See the collegeart.org pages or the mobile app for the most up to date information. Presentation titles will be listed after the Session. This content is current as of Tuesday, February 2, 2021. Wednesday A.M. ■ EVENT △ MEETING 10:00 AM –10:30 AM WEDNESDAY Live Q&As Online – Meeting O A Vision for Change: A New Media Architecture Uniting the Arts and Sciences LEONARDO EDUCATION AND ART FORUM Chairs: Gustavo Alfonso Rincon, Media Arts and Technology, UCSB; Erica Hruby, Leonardo Education
    [Show full text]
  • The Weimar Republic
    Chapter 4 The Weimar The Scope and Sequence Republic: Individual Choosing to & Society Participate The Fragility of We & They Judgment, Memory & Legacy The Holocaust Democracy akg-images HaHB_chapter4_v1_PPS.indd 156 2/28/17 7:51 PM Overview The Weimar Republic, the post– World War I German government named for the German city where it was formed, lasted more than 14 years, but democracy never found firm footing. This chapter explores Germany in the years preceding the Nazis’ ascension to power by highlighting efforts to turn a fledgling republic into a strong democracy and examining the misunderstandings, myths, and fears that often undercut those efforts. HaHB_chapter4_v1_PPS.indd 157 2/28/17 7:51 PM Chapter 4 Introduction After World War I ended in 1918, Kaiser Wilhelm fled to the Netherlands, Essential and Germany became a republic. The Weimar Republic was characterized Questions by contrasts and conflicts. The Weimar government granted significant new rights and freedoms to individuals and groups, beginning an era in • How do fears, both real and which creativity and experimentation flourished. At the same time, the imagined, shape the way we as individuals and as republic struggled to convince many Germans, accustomed to monarchy, citizens define our nation’s to accept and trust its authority. The people’s trust in the republic was universe of obligation? especially damaged as it faced economic crises as well as challenges from political parties that were hostile to democracy. • How can we as citizens build and maintain a Two very different moods characterized Weimar politics and society. The democracy that protects the first mood was one of excitement and creativity.
    [Show full text]
  • Downloaded from Brill.Com09/28/2021 01:26:59AM This Is an Open Access Chapter Distributed Under the Terms of the CC BY-NC-ND 4.0 License
    INTERNATIONAL JOURNAL FOR HISTORY, CULTURE AND MODERNITY www.history-culture-modernity.org Published by: Amsterdam University Press From Economic Equality to “Mommy Politics” Women Artists and the Challenges of Gender in East German Painting1 April A. Eisman HCM ２ (２): １７５–２０３ DOI: １０.５１１７/HCM２０１４.２.EISM Abstract This article looks at the impact that East Germany’s gender policies had on the visual arts and especially women painters across four decades. The first two sections focus on women’s participation in the national art exhibitions in Dresden during the Ulbricht and Honecker years, looking at how their artwork responded to official gender policies, and at the emergence of three women – Heidrun Hegewald, Gudrun Brüne, and Doris Ziegler – as nationally prominent painters. The third section focuses on the paintings and agitations of Angela Hampel in the 1980s as an example of a new phase in the pursuit of gender equality in East Germany, one abruptly cut short by the unification process. Ultimately this article argues that East Germany’s gender policies, despite not having achieved the stated goal of true equality, had a positive impact on women artists, and especially painters, in East Germany, increasing the number of women included in major exhibitions, encouraging greater complexity in their work, and ultimately fostering a socialist-feminist critique of lingering patriarchal biases. Keywords: German Democratic Republic, East Germany, painting, women, art Introduction In June 1971, Erich Honecker, the new head of the East German state, declared that “one of the biggest achievements of Socialism, [is] the largely complete equality of women in our State, both in law and in life.
    [Show full text]
  • Hans-Und-Lea-Grundig-Preisträger 2015
    Hans-und-Lea-Grundig-Preisträger 2015 Der von der Rosa-Luxemburg-Stiftung im Herbst vergangenen Jahres ausgeschriebene Hans-und-Lea- Grundig-Preis 2015 wurde von der Jury an die Petersburger Künstlerin Olga Jitlina, an die Kuratorin Lith Bahlmann und den Kulturjournalisten Matthias Reichelt (beide Berlin) sowie an ein von der Architekturtheo- retikerin Ines Weizman koordiniertes Projekt der Bauhaus-Universität Weimar vergeben. Der Jury gehörten als Ko-Vorsitzende die Kuratorin des Jüdischen Museums Frankfurt am Main Dr. Eva Atlan und der Berliner Kunsthistorikers und Kurators Dr. Eckhart Gillen, sowie Prof. Dr. Irene Dölling, Henning Heine, Prof. Ladislav Minarik, Dr. habil. Rosa von der Schulenburg, Oliver Sukrow, Dr. Angelika Timm und Tanya Ury an. In Erinnerung an die antifaschistischen Dresdner Künstler Hans Grundig (1901–1958, Berufsverbot unter den Nazis, mehrfach verhaftet, 1940–1944 KZ Sachsenhausen) und Lea Grundig (1906–1977, mehrfach verhaftet von den Nazis, 1939/40–1948 Exil in Palästina) sowie in Fortführung des von Lea Grundig der Universität Greifswald selbst 1972 gestifteten, aber dort seit 1996 nicht mehr vergebenen Preises vergibt die Rosa-Luxemburg-Stiftung die Auszeichnung für künstlerische, kunstwissenschaftliche und kunstvermit- telnde Leistungen. Sie hatte 2011 die Preisstiftung von der Universität Greifswald übernommen und 2012 den Preis erstmals an Oliver Sukrow verliehen, der sich in seiner Masterarbeit an der Universität Greifswald mit der umstrittenen Funktion Lea Grundigs als Präsidentin des Verbandes der Bildenden Künstler der DDR 1964–1970 historisch-kritisch auseinandergesetzt hatte. Für den nun ausgeschriebenen Hans-und-Lea-Grundig-Preis 2015 waren bei den künstlerischen Ar- beiten aktuelle Beiträge für eine mit R.B. Kitaj «diasporistisch» zu nennende Kunst erbeten.
    [Show full text]
  • Volume I, Number 1 / 2013
    Judaica Olomucensia 2013 | 1 קולות חדשים Qolot Hadashim New Voices in Jewish Studies Odborný recenzovaný časopis / peer-reviewed journal Olomouc 2013 Motiv na obálce: lept podle výšivky na synagogální oponě, Morava, Dolní Kounice, 1814. Publikace vychází v rámci projektu Inovace studijního oboru Judaistika zvyšující možnosti mezioborových studií. Registrační číslo: CZ.1.07/2.2.00/15.0300 Ročník I. | Č íslo 1 | 2013 (Vycházejí dvě řádná čísla ročně) © Univerzita Palackého v Olomouci, 2013 Neoprávněné užití tohoto díla je porušením autorských práv a může zakládat občanskoprávní, správněprávní, popř. trestněprávní odpovědnost. Contents/obsah Preface/předmluva Louise Hecht Odborné recenzované články Kata Bohus…………………………………………………………………………………… 6-22 Institutionalized Confusion. The Hungarian Communist Leadership and the ‘Jewish Question’ at the Beginning of the 1960s Miroslav Dyrčík………………………………………………………………………………23-35 Was Leibele Prossnitz a Charlatan? Magdaléna Jánošíková..............................................................................................................36-44 Eliezer Eilburg and his Autographs: MS Oxford-Bodleian Neubauer 1969 Mariusz Kałczewiak………………………………………………………………………….45-57 Foreign Civil Marriage in the Israeli Legal System Tomáš Krákora……………………………………………………………………………….58-82 The Books of Testaments of Prague Jews from the End of the 17th to the Middle of the 18th Century Simona Malá………………………………………………………………………………….83-98 Charlotte de Rothschild (1819-1884), her Life 1819-1859: A Biographical Sketch Kerstin Mayerhofer………………………………………………………………………….99-113
    [Show full text]
  • Program Ok MS 27062014 RP
    2. CONGRESS OF JEWISH ART IN POLAND – ART IN JEWISH SOCIETY 24 th – 26 th JUNE 2014 WARSAW Tuesday 24 th June 2014 9.30 – 10.00 Registration at the Museum of the History of Polish Jews, Anielewicza 6 Opening of the Congress 10.00–10.40 Greetings: Prof. Dariusz Stola, Director of the Museum of the History of Polish Jews Prof. Jerzy Malinowski, President of the Polish Institute of World Art Studies Prof. Małgorzata Omilanowska, Minister of Culture and National Heritage 10.40–11.00 – Coffee Break PANEL 1: 11.00 – 13.00 CHAIR: Prof. Gail Levin 11.00–11.20 Dr. Magdalena Kuni ńska (Jagiellonian University, Krakow; Polish Institute of World Art Studies) In search of the Jewish identity: Zofia Ameisenowa and research into Jewish iconography and its place in Polish art history discourse 11.20–11.40 Dr. Barry Dov Walfish (University of Toronto Libraries) The Otto Schneid Archive: A new online resource for the study of East European Jewish art in the interwar period 11.40–12.00 Dr. Sergey Kravtsov (Center for Jewish Art, Hebrew University of Jerusalem; Polish Institute of World Art Studies) Synagogue architecture of Volhynia in search of identities 12.00–12.20 Ariane Handrock (Berlin) Representing and constructing Jewish art: Alfred Grotte as an architect and author 12.20–12.40 Dr. Irina Obuchowa–Zieli ńska (Consulate of Poland in Irkutsk) Henryk Stifelman – the architect of Warsaw (the early 20 TH century and the Second Polish Republic) 12.40–13.00 – Discussion 13.00–14.00 – Lunch PANEL 2: 14.00 – 15.40 CHAIR: Prof.
    [Show full text]