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The construction of artistic identity in turn-of-the-century Berlin: The prints of Klinger, Kollwitz, and Liebermann.
No full textThe prints of Max Klinger, Kathe Kollwitz, and Max Liebermann serve as case studies for exploring how artistic identity was constructed through the vehicle of art criticism in turn-of-the-century Berlin. What follows is not a sequential "history" of Berlin's fin-de-siecle art community nor is it an institutional history of German museums or art academies. Rather, this is a story of historical misrepresentation. The received histories of Klinger, Kollwitz, and Liebermann have, for one reason or another, neglected to interrogate the period discourse produced during the 1880s and 1890s. Once these sources have been examined, a very different picture of the artists begins to emerge. The recovery of this important historical perspective allows us to retrieve what has been overlooked or written out of subsequent discourses that has largely reduced these complex figures to mere place holders in an unbroken art-historical genealogy.While the questions necessarily vary due to the tenor of the discourse associated with each artist, the answers are surprisingly inter-connected. Each case study reveals what critics saw as the function of culture and how this culture related to German nationalism. The power invested in Klinger's, Liebermann's, and Kollwitz's art relates directly to the capacity of their images to reinforce or demean preexisting cultural stereotypes, and how such imagery was used or abused for its perceived capability to formulate a distinctly German visual culture. For example, as a painter, Liebermann was seen to have brought a sometimes welcome sometimes unwelcome foreign (read French/Jewish) element into German art, and yet as a graphic artist he was unanimously praised as distinctly "German." One may ask how Liebermann's prints, which employed the same facture and subject matter as his paintings, served to position him as a carrier of German cultural pride. While the shifting terms of Liebermann's artistic identity were constituted primarily through the lens of race, the larger questions raised by such transitions in period discourses, when combined with similar instabilities surrounding issues of gender in Kollwitz and German nationalism in Klinger, collectively enable our revision of turn-of-the-century print culture.Thesis (Ph.D.)--Brown University, 1999.School code: 0024
Elizabeth Marum Lunau. My grandmother’s story : And how I learned about it.
No full textThe original English version has 13 pages of illustrations, followed by 16 pages of typed text. A bilingual edition (English and German) – 23 pages illustrated typescript - was distributed by Ludwig-Marum-Gymnasium in Pfinztal, Germany in 2001.digitizedCarola Morrone is Elisabeth Lunau’s granddaughter. In 1999 she majored in theater studies at the University of Connecticut.Elisabeth Lunau was born in 1910, the daughter of Ludwig Marum. In 1936, Elisabeth Lunau emigrated to France and was interned in the camps of Hyères and Gurs. In 1941, she emigrated with her mother and her husband Heinz Lunau to New York. Elisabeth Lunau died in New York on June 5th, 1998
Kosovar Refugees, Macedonian Camp (Box 120, Folder 14)
No full textThis folder of material was located in Box 120. Folder originally titled: Leonard Glickman in Kosovo.Digital ImageDigital finding aid
The rise of Fredericka "Marm" Mandelbaum : Criminal enterprise and the "American dream" in New York City, 1850-1884.
No full textAHC interview with Lilli Kaplan
No full textLilli Kaplan was born in Vienna, Austria. She lived in the 19th Viennese district.Austrian Heritage Collectio
The diary of Else Pintus : The story of a Holocaust survivor /
No full textOutbreak of World War II in Karthaus (Kartuzy); German invasion; seizure of brother; move to Danzig; attempts to contact brother; life in Danzig; work in old-age home after deportation of most Jews from Danzig; flight after threat of deportation; return to Karthaus; hides in friend's house attic; life in hiding; liberation and trials under Russian occupation; life in immediate post-war years.Doris Stiefel, 1998Else Pintus was born in Chmielno (West Prussia) in 1893 and died in Berlin in 1975.Synopsis in fileDanzigGestapoKartuzy (Karthaus)West PrussiaWolff, Rudol
Unausloeschliche Erinnerungen.
No full textThe memoir was published by the Gymnasium Allee-Altona, Hamburg, Herta Grove's high school, in December 1998. The main focus lies on her memories of school life, and the changes after the Nazis' rise to power. Herta Grove steps back and forth between her own memories and wider reflections on her relationship to Germany. The memoir includes private and official corespondence, and photographs.Herta Grove, November 2004See also memoirs by Herta Grove's brother, "Conversations with Walter Levy", ME 1420.Herta Grove née Levi, was born in Hamburg, Germany. She went to high school at Allee Altona Gymnasium in Hamburg, which she was forced to leave in 1933.Hamburg--Jews--Histor
Restructuring and rediscovering a woman's oeuvre: Chana Orloff, sculptor in the School of Paris, 1910 to 1940.
No full textChana Orloff, a Russian Jew born in 1888, emigrated with her family to Palestine in 1905 in response to political oppression. There she developed her talents and expanded her ambitions and in 1910 with the aid of her brother, left for Paris to study art and discover herself as a sculptor. In the vanguard of artists now called "L'Ecole de Paris," she created a highly original and personal body of work in which she projected her sense of herself as a woman.Orloff won the accolades of patrons, critics, and the French nation in the decades before the Second World War. In the intervening years her work has been largely unknown and unappreciated despite the fact that many male sculptors of the same era have now been rediscovered.Orloff's brief experience as a sketcher in the couture firm of Paquin is explored for the confluence of fashion and art. Her wood-block prints in the magazine SIC and that avant-garde magazine's early promotion of her sculpture is discussed. The antique art as seen in the Louvre, the gothic sculpture of Chartre Cathedral, the ritual art of Africa, as well as the work of contemporaries especially Constantin Brancusi, Elie Nadelman, and Amedio Modigliani in the early decades of the century, are all considered for their relationship to Orloff's development as a sculptor.Examples from Orloff's large body of works in the areas of animals, portraits, and personal subjects are discussed; careful consideration yielding insights into her personal concerns. The issue of her being called a Jewish artist is explored. Her sculptures are compared to the work of well-known male sculptors who ostensibly deal with the same themes. Orloff's work after World War II and her relationship to Israel until her death in 1968 is briefly discussed.A meaningful examination of Orloff's oeuvre allows a contemporary understanding of the productivity of this Jewish French woman sculptor and enhances our understanding of the work of women. A reconstruction of her work provides a new appreciation of the contribution and importance of the artist Chana Orloff.Thesis (Ph.D.)--City University of New York, 1998.School code: 0046
Ancestors of Henry Dewey Jacoby, Sr.
No full textFamily tree listing descendents for Henry Dewey Jacoby, Sr.The family tree mentions the family names Goldstucker, Jacoby, Kahnweiler, Loe, and Meyerson; as well as the towns of Alsenz, Grundstadt, Grünstadt and Münsterappel.Henry Jacoby was born in circa 1817 in Bavaria, Germany; he died in 1886 in Pensacola, Florida.digitize
AHC interview with Walter Hautzig.
No full textWalter Hautzig was born in Vienna in 1921. After the Nazis' rise to power, he was forced to scrub streets. He emigrated to Palestine in September of 1938 and to the United States in December of 1939, where he became a pianist.Austrian Heritage CollectionSee also Langfelder Family Collection (AR 10361)See also Walter Hautzig Collection (AR 10653; MF 503