The Gestapo warrant for protective custody dated June 29, 1939 confirmed the hitherto merely formal arrest of the Jewish and communist painter Lina (Lea) Grundig (also see June 1). After her conviction of high treason, she was held at the Dresden Court Jail.
Since discussing the possibility of emigration with his relatives in Vienna on April 20, Adolph Markus of Linz had taken up English lessons at the synagogue twice to three times a week. On April 29, his brother-in-law had been picked up by the Gestapo, and the Markuses’ tension and nervousness was beginning to rub off on the children. Two weeks later, Mrs. Markus was questioned by the Gestapo about the value of a house she owned and all her other property. Finally, on June 18, two Gestapo officers appeared at the family’s home: While going over the contents of some boxes, one of them tried to frame Adolph Markus by sneaking in a communist leaflet. Markus mustered the calm and self-assurance to point out to the officers that he had never been politically active in any way. His allusion to his frontline service in World War I, combined with the remark that if they were to arrest him, they would have to take along his two little boys, since their mother was in the hospital, made them change their mind. They left – threatening to return after six weeks if he wasn’t going to leave the country on his own accord.
Her paintings were political accusations and constituted a threat to the Nazi regime. Lea Grundig, born in 1903 as Lina Langer, was arrested with her husband, Hans, by the Dresden Gestapo on June 1, 1938, and not for the first time. The explanation given on the form was “Suspicion of subversive activity.” What was meant was her art. With picture cycles like “Under the Swastika” or “It’s the Jew’s Fault,” Grundig, who since 1933 had been barred from her profession, hauntingly documented the brutality of the persecution of Jews and communists by the Nazis. In 1935, she gave one of her paintings the portentous title, “The Gestapo in the house.”
In the traveling exhibition “Degenerate Art,” initiated in Munich in 1937, the Nazis used 650 works of art confiscated from 32 museums in order to force their idea of art upon the populace: newer trends like expressionism, surrealism, or fauvism, to name just a few, were regarded as “Jewish-Bolshevist” and roundly disparaged. The front page of the exhibition catalog shows a piece titled “Large Head” from the workshop of the German-Jewish artist Otto Freundlich, one of the first exponents of abstract art. It was created in 1912 to symbolize hope for a new beginning. Even apart from Freundlich’s Jewish background and his artistic leanings, being a communist made him politically unacceptable in the eyes of the regime.
Markus Wolf (center in the photo above), one of the sons of the communist physician and writer Friedrich Wolf (right), was born in 1923 in Hechingen in the Swabian Alps. After the Nazi seizure of power the family initially emigrated to Switzerland, then to France, and in 1934 to the Soviet Union. The Wolf family resided at the Hotel Lux in Moscow where a large number of communist refugees from Germany had been given shelter. During the years of the Great Terror (1936–38), deeply suspicious of the foreigners, in whom it saw potential spies for the Reich, Stalin’s regime tortured and interrogated many of the German emigrants. Among the approximately 600,000 victims of the purge were 178 German communists, most of them residents of the Hotel Lux. The Wolf family survived.