Fragile Images : Jews and Art in Yugoslavia, 1918-1945 (Balkan Studies Library)

Rajner, Mirjam

Brill（2019/09発売）

• 製本 Hardcover:ハードカバー版／ページ数 446 p.
• 言語 ENG
• 商品コード 9789004408852
• DDC分類 709.4970904

Full Description

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.

interview with the author

Contents

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