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Fragile Images: Jews and Art in Yugoslavia, 1918-1945 de Mirjam Rajner

Fragile Images: Jews and Art in Yugoslavia, 1918-1945: Balkan Studies Library, cartea 26

Autor Mirjam Rajner
en Limba Engleză Hardback – 18 sep 2019
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.
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Specificații

ISBN-13: 9789004408852
ISBN-10: 9004408851
Dimensiuni: 155 x 235 mm
Greutate: 0.91 kg
Editura: Brill
Colecția Brill
Seria Balkan Studies Library

Cuprins

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 Dorćol 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

Notă biografică

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.