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Developing Concepts at Amsterdam's Jewish Historical Museum

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Developing Concepts at Amsterdam's Jewish Historical Museum STUDIA ROSENTHALIANA 45 (2014), 37-55 doi: 10.2143/SR.45.0.3021380 Developing Concepts at Amsterdam’s Jewish Historical Museum HETTY BERG N FEBRUARY 2007, seventy-five years after Amsterdam’s Jewish I Historical Museum first opened to the public in 1932, the museum completed an extensive programme of reconstruction and refurbishing. New public facilities were put in place as well as new temporary exhibi- tion spaces and a children’s museum, while all the permanent displays were completely overhauled. As project leader in charge of this renewal, one aspect that I found particularly intriguing was how the motivation of those involved in the current process compared to the motivation of those involved with the founding of the museum in 1930 and its devel- opment in the intervening years. Our museum is one of Europe’s oldest Jewish museums, having been founded as an institution eighty years ago. It is therefore interesting to compare the development of thinking at the museum: the ideas that motivated its founders; those who strug- gled to re-establish the museum after the war; the staff who expanded the museum in the Weigh House; the team that created the new museum in its new setting in 1987; and those who made the current renewal possible. How have their goals and visions developed? People who make exhibitions and museums make choices, they attribute value and significance and set priorities which they pass on to society through their presentations. They decide what they consider relevant from a social, political and cultural perspective.1 How has this evolved over the years at Amsterdam’s Jewish Historical Museum? How is this reflected 1. Felicitas Heimann-Jelinek, ‘Categorizing the World’, in: Julie-Marthe Cohen and Emile Schrijver (eds), Presenting Jewish Ceremonial Art (Amsterdam 2001), p. 55. 38 HETTY BERG in the presentations and the context of the museum’s displays? One way of examining this is to study the museum’s publications over the years, its guides, catalogues and brochures, photos as well as text. By the end of the 19th century, museums and exhibitions had become a fixture in the cultural life of Amsterdam. The Rijksmuseum, with its presentation of national art treasures, and the Stedelijk Museum, with its contemporary masters and applied art, were followed in 1926 by a museum of local history: the Amsterdam Historical Museum. Among the many temporary exhibitions presented in this period, the Stedelijk featured a show in 1916 on Jewish Amsterdam. As its title suggests, its perspective was the vanishing Jewish life of the ghetto. In a period in which the Jews of Amsterdam were moving out into the expanding sub- urbs and embracing a modern secular lifestyle, a nostalgia had developed for the old life of the Jewish quarter, a desire to preserve the heritage of what was perceived to be a disappearing culture.2 It was the Genootschap voor Joodsche Wetenschap that organised the establishment of a Jewish historical museum foundation in 1930. A guide published in 1931 explains its purpose: The Jewish Historical Museum foundation aims to assemble a collec- tion illustrating Jewish historical, cultural and religious life in the Netherlands and abroad [...] In our previous exhibitions we have attempted to highlight the meaning and specific nature of the displays [...] however, it was always disappointing that these shows were only temporary [...] this is what has prompted us to bring together objects illustrating Jewish religious life and synagogue services as well as memorabilia reflecting the fortunes and history of Dutch Jews in a museum.3 In 1932, the foundation obtained two rooms in one of the turrets of the Weigh House on the Nieuwmarkt square, home to the Amsterdam His- torical Museum (fig. 1). Billed as a separate museum in its own right, the presentation was opened by Amsterdam alderman Emanuel Boekman, responsible for the arts. In his speech, he noted: 2. Julie-Marthe Cohen, ‘A Jewish Museum Gained, Lost and Regained’, in: Julie-Marthe Cohen, Jelke Kröger, Emile Schrijver (eds), Gifts from the Heart, Ceremonial Objects from the Jewish Historical Museum, (Amsterdam 2004), p. 13 ff. 3. Gids voor het Joodsch Historisch Museum (Amsterdam, 1931), p. 5. DEVELOPING CONCEPTS AT AMSTERDAM’S JEWISH HISTORICAL MUSEUM 39 There is every reason why the city of Amsterdam should finally have such a museum – this city, in which Jews have played such an impor- tant role, numerically and also culturally and intellectually. In this respect Amsterdam has long been preceded by other cities in Europe in which Jews have played a less significant part.4 Concerning the museum’s goal, the guide states: Jewish religious life is rich, and requires a great many ritual objects for its various expressions [...] which have undergone outward changes in the course of the centuries. [...] It would be a great cultural loss were these products of antique and modern art to vanish. [...] The muse- um’s job is to ensure that these specimens of craftsmanship are not destroyed or lost.5 This desire to salvage objects relating to Jewish culture was an interna- tional phenomenon. Indeed, when they established the museum founda- tion, the Genootschap were following the lead set by similar societies of Jewish academics in Vienna and Germany. Some fourteen Jewish muse- ums were established in major cities in West and Central Europe between 1895 and 1936.6 It was part of a wider trend among Jews who feared the disappearance of their heritage and loss of their culture. At the same time in an increasingly hostile climate, members of the intellectual elite of Jewish Europe wished to present their heritage and demonstrate the Jewish contribution to civilisation.7 This question of preserving Jewish heritage acquired an entirely dif- ferent dimension when the German army invaded Holland in May 1940. Ritual objects were destroyed, synagogues ransacked and anything of perceived value stolen. While some attempted to save items from the Nazis, it was not long before they discovered that they themselves were the real target. Along with the vast majority of the Dutch Jewish com- munity, many of those involved with the Jewish Historical Museum never returned.8 4. Handelsblad, 25 February 1932. 5. Gids voor het Joodsch Historisch Museum (1931 and 1932), p. 5. When the museum opened a revised edition of the 1931 guide was issued. 6. Nomi Feuchtwanger-Sarig, ‘Linking the Past to the Future: A Centenary of Documenting Jewish Art’, in: Cohen and Schrijver (eds), op. cit., pp. 20-23. 7. Feuchtwanger-Sarig , op. cit., p. 19. 8. Julie-Marthe Cohen describes elsewhere in this volume how the museum fared during the war years and in the postwar period. See also Cohen, op. cit., p. 12-30. 40 HETTY BERG After the war, those who had survived the Holocaust and decided to remain in the Netherlands resurrected the institutions of the pre-war community. This included the Jewish Historical Museum, and so a new board was appointed in 1947.9 However, the museum remained closed. In those first postwar years, other aspects of the Jewish community’s infrastructure took priority. Most Jews had more immediate concerns: they were restarting their lives from scratch, worried about the fate of their relatives, anxious to have their property restored and many had to deal with traumatic experiences.10 In 1955, the Jewish Historical Museum re-opened in the Weigh House, home of the Amsterdam Historical Museum (fig. 2). Dutch Prime Minister Willem Drees and various Amsterdam councillors were at the opening. A catalogue was published to mark the event, with short descriptions of the collection’s 277 items.11 In a preface, the board expressed their joy that their desire to re-open the museum had at last been fulfilled and offered a short summary of the museum’s history. Curator Lion Morpurgo added an introduction expressing the hope that the museum would expand ‘to provide a collection that will repre- sent to the Netherlands what Jewish life meant in this country. And when we look back at Jewish life today, we must not forget the catastro- phe that befell the Jews in the years 1940-1945.’ An essay follows, by the much respected writer Abel Herzberg, focusing on the war years and taking up two of the five introductory pages. The newly opened museum devoted an entire room to the Holocaust, with documents provided by the Dutch war archive. Given the lack of focus on the sub- ject among the public at large, this aspect of the museum’s sense of purpose is particularly significant. In the late 1950s, an English ‘Summary’ was published for interna- tional visitors offering more detailed information about the displays and the museum in general, shedding light on the motivation behind the postwar presentation. 9. On the members of the board see ibid., p. 27. 10. See Edward van Voolen’s article on the postwar history of the museum until 2004, ‘New Life and a New Home in Amsterdam’, in: Julie-Marthe Cohen, Jelka Kröger, Emile Schrijver (eds), Gifts from the Heart, Ceremonial Objects from the Jewish Historical Museum, (Amsterdam 2004), p. 31-32. 11. Gemeente Museum Waaggebouw Amsterdam Joods Historisch Museum (Amsterdam 1955), no page numbers. DEVELOPING CONCEPTS AT AMSTERDAM’S JEWISH HISTORICAL MUSEUM 41 It is a source of satisfaction to the Jewish Historical Museum that it is again able – after fifteen years of enforced interruption caused by the war and its aftermath – to reopen its doors [...] and to present to the visitor from Holland and from abroad a number of instances of Jew- ish religious objects that were or are still being used in Holland, together with other exhibits relating to the life of the Jews in the Netherlands for over 350 years.12 The writer explains how the museum was founded, how it fared during the war and how in the postwar years an effort was made to assemble enough items from public sources to augment the pieces that had been recovered from the Nazis and create a presentation to fill the entire top floor of the Weigh House.
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