Calling attention to the local cultural scene as well as to events taking place in Europe, Matthew Baigell considers the art produced by Jewish artists who were inspired to respond to the murders of their fellow Jews during World War II.
Although there were only a few instances of visual documentation of events until the war’s later stages, responses to news reports and the very few authentic images received of the atrocities of the Holocaust varied from avoidance and denial to scattered attempts to create direct visual representations. Those artists who chose the latter alternative did so with little support from the Jewish intelligentsia of New York City. Art critics such as the influential Clement Greenberg purposely avoided addressing this issue at all. Jewish artists were left to cope with the events of the war in isolation, without a collective visual memory to deal with the traumas presented by news reports.
Baigell discusses how the limited access to images, information, and support during the war led to a unique artistic response created not only by the conflict itself, but also by the anti-Semitic social climate of the United States. Surveys taken in the U.S. between 1940 and 1946 demonstrate that the general population considered Jews a greater menace to the welfare of the country than the Germans or the Japanese.
Artists featured include Marc Chagall, Jacques Lipchitz, Barnett Newman, Abraham Rattner, Mark Rothko, and Max Weber.
How did the vast number of Jewish immigrants from different regions of Eastern Europe form their American ethnic identity?
In his answer to this question, Daniel Soyer examines how Jewish immigrant hometown associations (landsmanshaftn) transformed old-world communal ties into vehicles for integration into American society. Focusing on New York--where some 3,000 associations enrolled nearly half a million members--this study is one of the first to explore the organizations' full range of activities, and to show how the newcomers exercised a high degree of agency in their growing identification with American society.
The wide variety of landsmanshaftn--from politically radical and secular to Orthodox and from fraternal order to congregation--illustrates the diversity of influences on immigrant culture. But nearly all of these societies adopted the democratic benefits and practices that were seen as the most positive aspects of American civic culture. In contrast to the old-country hierarchical dispensers of charity, the newcomers' associations relied on mutual aid for medical care, income support, burial, and other traditional forms of self-help. During World War I, the landsmanshaftn sent aid to their war-ravaged hometowns; by the 1930s, the common identity centered increasingly upon collective reminiscing and hometown nostalgia.
The example of the Jewish landsmanshaftn suggests that many immigrants cultivated their own identification with American society to a far greater extent than is usually recognized. It also suggests that they selectively identified with those aspects of American culture that allowed them to retain emotional attachments to old-country landscapes and a sense of kinship with those who shared their heritage.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press