Fragile Images

Jews and Art in Yugoslavia, 1918-1945
Erscheinungsjahr 2019
ISBN: 978-90-04-40885-2
Verlag: Brill

Buch, Englisch, Band 26, 446 Seiten, Format (B × H): 157 mm x 236 mm, Gewicht: 907 g

Reihe: Balkan Studies Library

In Fragile Images: Jews and Art in Yugoslavia, 1918-1945, Mirjam Rajner traces the lives and creativity of seven artists of Jewish origin. The artists - Moša Pijade, Daniel Kabiljo, Adolf Weiller, Bora Baruh, Daniel Ozmo, Ivan Rein and Johanna Lutzer - were characterized by multiple and changeable identities: nationalist and universalist, Zionist and Sephardic, communist and cosmopolitan.

These fluctuating identities found expression in their art, as did their wartime fate as refugees, camp inmates, partisans and survivors. A wealth of newly-discovered images, diaries and letters highlight this little-known aspect of Jewish life and art in Yugoslavia, illuminating a turbulent era that included integration into a newly-founded country, the catastrophe of the Holocaust, and renewal in its aftermath.

Autoren/Hrsg.

Rajner, Mirjam

Fachgebiete

• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 20./21. Jahrhundert
• Geisteswissenschaften Jüdische Studien Geschichte des Judentums Geschichte des Judentums: Moderne & Gegenwart
• Geisteswissenschaften Jüdische Studien Jüdische Studien Jüdische Studien: Literatur & Kunst

Inhaltsverzeichnis

Acknowledgments xi

List of Illustrations

Note on Personal Names

Introduction

Part 1: In Search of an Identity: Sephardic, Zionist, Yugoslav

Introduction to Part 1

1 From Dorcol to Paris and Back: Moša Pijade’s Self-Portraits

1 Coming of Age in Belgrade

2 Fin-de-siècle Munich

3 The Bohemian Paris

4 Pijade’s Self-Portraits: In Search of an Identity

2 Sarajevo’s Multiculturalism: Daniel Kabiljo’s Sephardic Types

1 Between East and West

2 Bosnian Artist or Yugoslav Zionist?

3 Choosing Sides

4 Kabiljo’s Sephardic Types

3 A Croatian Zionist: Adolf Weiller between the East European Shtetl and the Lure of Nature

1 Becoming a “Jewish Artist”

2 The Lure of Nature

Part 2: From Avant-Garde to Political Activism

Introduction to Part 2

4 Bora Baruh’s Refugees

1 “Four Mahaneh Portraits”

2 The Early Works

3 Paris: A Painter and a Revolutionary

4 Painting Refugees

5 Two Directions: The “Art for Art’s Sake” and the Socially Engaged Art

5 Ivan Rein’s Paris: From the Quartier Latin to Camp Vernet

1 Growing Up in an Affluent and Acculturated Jewish-Catholic Family

2 The Croatian School of Painting

3 Rein’s Paris

4 Social Awareness and Political Protest

5 Letters to Cuca: On Being Jewish, Yugoslav, and Universal on the Eve of WWII

6 The Ethnic and Universal Avante-Garde: Daniel Ozmo’s Linocuts

1 A Bosnian Sephardic Artist in Belgrade

2 Discussing “Jewish Art” in the 1930’s: Between Racial Traits and Human Values

3 Social Content and Expressionist Form

4 Sarajevo’s Avant-Garde: Collegium Artisticum

Part 3: “We Artists Have to Paint”: Art Created during the War and the Holocaust

Introduction to Part 3

7 Bora Baruh in Occupied Belgrade: Images of Jewish and Christian Mourning

1 Bombing of Belgrade and Persecution of the Jews

2 Painting Portraits

3 Refugees on Ruins

8 Art in Jasenovac: Daniel Ozmo and the Artists of the Ceramic Workshop

1 The Destruction of Sarajevo’s Jewish Community and Daniel Ozmo’s Arrest

2 The Jasenovac Camp and the Ceramic Workshop

3 Ozmo’s Depictions of Forced Labor

4 Slavko Bril

5 Portraits and Landscapes

6 Ozmo’s End

9 Refugee and Artist: Ivan Rein, Johanna Lutzer, and Jewish Cultural Life in Kraljevica

1 Escaping to the Adriatic Coast

2 Being a Refugee in Kraljevica

3 Ivan Rein’s Refugee Art

4 The Kraljevica—Porto Re Camp

5 Ivan Rein’s Drawings Created in the Kraljevica Camp

6 Johanna Lutzer: A Jewish Artist from Vienna

10 The Rab Island Camp: From Internment to Freedom

Part 4: Producing Art for Partisans: Creativity between Ideology and Survival

Introduction to Part 4

11 Bora Baruh as a Partisan, 1941–1942

12 Johanna Lutzer: Jewish Refugees with the Partisans in Croatia

13 Postscript: Jewish Artists as National Heroes, Victims of Fascism, and Holocaust Survivors

Conclusion

Bibliography

Index

Über Autor(innen)

Mirjam Rajner, Ph.D. (2004), The Hebrew University of Jerusalem, is a senior lecturer in the Jewish Art Department of Bar-Ilan University and the co-editor of Ars Judaica, The Bar-Ilan Journal of Jewish Art. She has published numerous articles on modern Jewish art in edited volumes and academic journals such as Images, East-European Jewish Studies, Studia Rosenthaliana, and Studies in Contemporary Jewry.