The banishment of Jews from public spaces was far advanced by now. Already in 1933, Jewish creative artists had been dismissed from state-sponsored cultural life. Since November 12th, 1938, Jews were no longer admitted even as audience members at “presentations of German culture” and were banished from concert halls, opera houses, libraries and museums. More and more restaurants and shops denied access to Jews. On Dec. 12th, 1938, the Jewish Telegraphic Agency pointed out a striking discrepancy: while abroad, the “German News Bureau,” the central news agency of the Reich which followed the directives of the Propaganda Ministry, spread the information that from January 1st, 1939, certain anti-Semitic measures would be relaxed, quite the opposite had been communicated to Jews inside the Reich. One fact, however, was not hidden: the goal was to prompt all Jews to emigrate, “also in the interest of the Jews themselves,” as the Bureau put it.
The works of the Expressionist painter and graphic artist Bruno Gimpel were classified as “degenerate” during the Third Reich. Neither his voluntary service as an aide in a military hospital during World War I nor his “mixed marriage” with an “Aryan” woman spared him the usual repressive measures. On November 22nd, 1938 he received a letter from the Reichskammer der Bildenden Künste, the Nazi authority in charge of the visual arts, which yet again denied him membership and banned him from all branches of his profession. In 1935, this institution of the Third Reich had once before rejected a request for admission by the Dresden artist. Since 1937, he had no choice but to make a living by giving drawing lessons to Jewish children.
In this watercolor portrait of a young girl, we do not see the artist John Hoexter’s familiar acerbity but rather a much gentler side. The Expressionist and Dadaist was a leftist activist and idealist and was not very good at making money. For years he contributed to the magazine “Der blutige Ernst” (“Bloody Earnest”), which disseminated undogmatic leftist thought with the help of first-rate contributors who were not paid for their efforts. Hoexter’s financial situation also was not helped by the fact that in trying to control his asthma, he had gotten addicted to morphine early in life. In addition to his considerable artistic talent, he was forced to develop his skills as a “shnorrer.” He was at home in the Bohemian circles frequenting places like the “Cafe Monopol” and the “Romanisches Cafe.” After the Nazis were handed power in 1933, Hoexter’s leftist circle of friends shrank more and more, which, along with the ongoing debasement of Jews by the regime, did not fail to take a toll on him. Under the impact of the violence experienced during the night of pogroms (later known as “Kristallnacht” or “Night of Broken Glass”) Hoexter committed suicide on November 15th.
When Gotthold Ephraim Lessing’s tragedy “Emilia Galotti” was put on at the non-Zionist agricultural training camp run by the Reich Representation of Jews in Germany in Groß-Breesen (Silesia), the talented and energetic Friedel Dzubas, 23, was central to making it happen: not only did he direct the performance, design the costumes and design and create the stage decoration, he also played the role of Odoardo, the tragic heroine’s father. Lessing, the son of a Lutheran pastor and a central figure of the German enlightenment, had taken up the cause of the Jews early on in life and eternalized his close friend, the philosopher Moses Mendelssohn, in his play “Nathan the Wise.” His determined stance earned him a place of honor in the hearts and minds of German Jews as well as in their libraries.
The letter that Joseph Roth sends to his cousin Michael Grübel in Mexico is short. Though written in a familiar tone, it limits itself to the most important matters of organization. Roth thanks him for establishing contact with a Dor. Com. Silvio Pizzarello de Helmsburg. The latter, he hopes, will help him “bring ten comrades to Mexico.” Whom exactly Roth has in mind here remains a question. Moreover, Roth asks his cousin to also obtain a visa for him personally. The famous author and journalist had emigrated to Paris in 1933. From there, he had since published numerous novels and essays and written for emigrant publishers in different countries. However, now Roth too seemed to toy with the thought of leaving Europe.
Only one day after the “Anschluss” Fritz Löhner was arrested in Vienna and shortly thereafter deported to the concentration camp at Dachau. Löhner was born in Bohemia in 1883. As a young child, he moved with his parents to Vienna. By the 1920s, Beda, as Fritz Löhner sometimes called himself, had become one of the most renowned opera librettists in Vienna. On top of that, he wrote numerous lyrics (some still known today), not to mention satires and pieces for cabaret, always with a clear attitude: his time as an officer in World War I had turned him against the military. On the 23rd of September 1938, the Nazis transferred him from Dachau to the concentration camp at Buchenwald.
Barely one month after the collapse of the Weimar Republic, a “democracy without a user’s manual,” as he called it in “The German Masked Ball,” and one day after the Reichstag fire, the writer and Social Democrat Alfred Döblin left Germany. After a brief interlude in Switzerland, he moved to Paris with his wife and three sons in September 1933. Occasional publications with the German-language “publisher-in-exile” (Exilverlag) Querido (Amsterdam) yielded minimal income, and Döblin’s lack of French language skills were a major stumbling block to his gaining a foothold professionally. From 1936 on, the Döblins were French citizens. The 10th of August was the author’s 60th birthday.
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.
The first major rupture in artist Gustav Wolf’s biography had occurred during World War I. He had volunteered for frontline duty and was badly injured. His brother Willy was killed in combat. The works in which he processed his wartime experiences leave no doubt about his feelings. Instead of glorifying war, he shows its horrors. His confrontation with antisemitism during and after the war led him to an increased awareness of his own Jewishness. In 1920 he accepted a professorship at the Baden Art School in Karlsruhe, trying to realize his ideal of an equitable partnership between teacher and student. After a year, he quit this “dead activity,” referring to the school as “an academy of schemers.” In 1929, he designed the set for Fritz Lang’s silent film “Woman in the Moon,” an early science-fiction movie. Upon the Nazi rise to power in 1933, he canceled his memberships with all the artists’ associations to which he had belonged. In his letter to the Baden Secession, he explained his decision with the following words: “I must first get my bearings again. The foundations of my existence have been called into question and shaken.” After extended stays in Switzerland, Italy and Greece, he returned to Germany in 1937. In February 1938, he boarded a ship to New York. June 26, 1938 was his 49th birthday.
After his first official attempt to immigrate had failed under adventurous circumstances, 20 year-old Heinz Ries of Berlin made another effort to get permission to live in the US permanently and legally. For months, he had struggled in the shadows as an undocumented immigrant in New York. After obtaining an affidavit of support, Ries traveled to Havana and visited the US consulate there on June 23, 1938. Finally, he was admitted legal entry into the United States. After the war he returned to Germany for some time, first in the employment of the Allies, then as a photo journalist for the New York Times. The photographs of the Berlin Blockade and the Airlift, taken during these years, made him world-famous under the name Henry Ries.
Samuel (later “Billy”) Wilder had a mind of his own: born in 1906 into an Austrian-Jewish family in the Galician town of Sucha Beskidzka, then part of the Austro-Hungarian Empire, he was expected to join his father’s business, which consisted mainly of a chain of railroad restaurants. But after the Realgymnasium and a brief stint at law school in Vienna (he dropped out after three months), he decided to follow his true leanings. At the paper Die Stunde, a tabloid of questionable repute, he got his first shot at practicing his writing skills. In 1926, an opportunity arose for him to move to Berlin, where he freelanced for various tabloids and took up screenwriting. After the Nazis’ ascent to power, Wilder first moved to Paris and was given the opportunity to direct his first movie, Mauvaise graine. In 1934 he entered the US on a visitors visa. From 1936, he was under contract at Paramount Pictures. June 22, 1938 was his 32nd birthday – the sixth he celebrated in exile.
On June 17, the Jewish Telegraphic Agency reports that in the last four days, the Nazi authorities have re-intensified their raids on cafés in Berlin and elsewhere in the country, which between June 13 and 17 have led to the arrests of 2,000 Jews. During the Weimar Republic, there had been a thriving Kaffeehauskultur—artists and intellectuals practically saw certain cafes as their homes, where they would spend half of their days and nights discussing art, literature, and politics. Under the Nazis, this phenomenon quickly disappeared; they suspected subversive activities among these free thinkers. The public sphere was infested with informers. By the time of the Juni-Aktion, in the context of which these raids were carried out, the original clientele had largely disappeared. Ostensibly, the raids were targeting “anti-social elements.” In fact, however, they constituted the first mass-arrest of Jews. The Minister of Propaganda, Joseph Gobbels, had summarized the intention with the pithy words: “Our password is chicanery, not the law.”
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.”
After three decades of making his fellow Austrians laugh, cabaret artist Fritz Grünbaum’s career was brought to an abrupt end by the Anschluss. His politics alone would have sufficed to make him intolerable for the new regime: Grünbaum had returned from action in World War I not only a decorated soldier but also an avowed pacifist. As for Nazism, he did not mince words. Since 1933, he had been getting more political, and when during a 1938 performance a power outage caused the stage lights to go out, he commented glibly, “I see nothing, absolutely nothing. I must have accidentally gotten myself into National Socialist culture.” His last performance at the famous cabaret “Simpl” in Vienna just two days before the Anschluss was followed by an artistic ban on Jews. Grünbaum and his wife Lilly, a niece of Theodor Herzl, tried to flee to Czechoslovakia but were turned back at the border. On May 24, he was interned at the Dachau concentration camp. Grünbaum was also known as a serious art collector, mostly of modernist Austrian works, and a librettist.
After Polish-born Shulamit Gutgeld’s return to Palestine from several years of study in Berlin with the greats of German theater, Erwin Piscator and Max Reinhardt, she changed her name to Bat Dori – “daughter of my generation” or “contemporary.” And that she certainly was in a very conscious way: her plays were highly political and attuned to the events of the day—so much so that the British mandatory authorities forbade the performance of her 1936 play, “The Trial,” which called for peace between Jews and Arabs and was critical of the British. The Berlin branch of the Jüdischer Kulturbund, however, decided to produce the play. The document shown here is an invitation to the May 8 performance at the Kulturbund-Theater on Kommandantenstraße under the direction of Fritz Wisten.
After studies at the Academy of Art in Vienna, the printmaker Michel Fingesten had traveled extensively and ultimately settled in Germany. Neither the Austrian national’s Jewish descent nor his penchant for the erotic endeared him to the Nazis. The increasingly unbearable racial politics of the regime made him decide to stay in Italy after a family visit to Trieste in 1935. Fingesten is known mainly as an illustrator and as a prolific, imaginative designer of book plates. April 18, 1938 was his 54th birthday.
The April 6 event at the Jüdischer Kulturbund (Jewish Cultural Association) in Hamburg was dedicated to dance. Elsa Caro, also known by her stage name, Juana Manorska, used challenging music not originally intended for dance as the inspiration for her performance. Since the beginning of the 20th century, the fixed, formulaic repertoire of movements in classical ballet seemed limiting and outdated to some. German dancers, among them Elsa Caro and the “half-Jewish” Gret Palucca, were at the forefront of those experimenting with new forms, a movement that gave birth to Ausdruckstanz, also known as “Expressionist Dance” or “modern dance.”
The Austrian-born theater and film director Max Reinhardt emigrated to the US in October 1937, accompanied by his wife Helene Thimig, an actress. By introducing technical innovations and elevating the position of the director, Reinhardt played a pivotal role in the development of modern theater. With his production of H. von Hoffmannsthal’s “Jedermann” in 1920, he became one of the co-founders of the Salzburg Festival. Shortly after he settled down in the US, plans emerged to found “another Salzburg” festival in California. This time, he wrote his friend Arturo Toscanini, he would be working “under more favorable climatic and political conditions, and perhaps with greater financial means.” Among his achievements in the US were staging Werfel’s “The Eternal Road” (1937) and founding the Max Reinhardt Workshop for Stage, Screen and Radio, a theater and film academy in Hollywood (1937–1939). He did not think very highly of US audiences.
In another dramatic report from Vienna, the Jewish Telegraphic Agency describes panicked Jews flocking to the US Consulate hoping in vain to receive some kind of support. Especially prominent Jewish citizens faced harassment and arrest by the secret police. Austrian Jewish leaders were forced to inform the police about their activities, while their German counterparts were unable to come to their support due to border restrictions. The situation of thousands of Jewish actors had become so desperate that even the Nazi representative of the Austrian Theater Guild acknowledged it and permitted a campaign in their support.
This etching by the German-Jewish artist Hermann Struck depicts the fifth British High Commissioner for Palestine, Harold MacMichael, who took office on March 3, 1938. MacMichael had previously held various positions in Africa. The High Commissioner was the highest-ranking representative of the Empire in Mandatory Palestine. The creator of the portrait, Hermann Struck, an Orthodox Jew and an early proponent of Zionism, had emigrated to Palestine in 1923 and settled in Haifa. He was renowned in particular for his masterful etchings, a technique he had taught to artists such as Chagall, Liebermann, and Ury.
Few among the immigrant New York audience expected to attend a trilingual event of the Theodor Herzl Society had ever encountered native speakers of modern Hebrew: Hence, it is no wonder the Aufbau assumed that the Hebrew part would constitute the greatest attraction. The featured artist of the evening, actor Albert Klar (Sklarz), born and raised in Tel Aviv, had begun his career in Berlin under renowned directors such as Reinhardt and Piscator. He had made his way to New York thanks to an invitation from the great Yiddish actor and director, Morris Schwartz, who hired him for his Yiddish Art Theater. The venue was Ansche Chesed, a synagogue on the Upper West Side founded by German immigrants.
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.
This view of Ben Yehuda Street in Tel Aviv shows some of the typical buildings in the background to which it owes its unofficial name, “The White City.” Since 1933 and especially after the “Reichsbürgergesetz” came into effect in 1935, Bauhaus-trained architects had left Germany and were now putting their mark on Tel Aviv, either through their own creations or through their influence on others. The photo is dominated by the Migdalor building, which was built in 1935 and housed the city’s first air-conditioned movie theater. On the external wall there is a huge advertisement for Jean Renoir’s 1937 movie “Grand Illusion,” which due to its pacifist message was banned in Nazi Germany.
This painting by the artist Hermann Struck, a resident of Haifa and one of the relatively small number of German Jews who emigrated to Palestine already before 1933, shows one of the iconic landscapes of the Holy Land, the Dead Sea. It does not, however, reflect the difficult social situation in Palestine in the late 1930s. Due to the growing influx of Jewish immigrants in general and, after 1933, German Jews in particular, tensions between Jews and Arabs as well as between Arabs and the British mandatory administration were increasing. In 1936, an Arab uprising began which was still in full swing in February 1938.
With Adolphe Adam’s comic opera “If I were King” and Ladislaus Bus-Fekete’s “Cape of Good Hope,” the Berlin Kulturbund offered its guests lighthearted distractions. The Jewish audience in Berlin in 1938 must have been receptive to an opera in which the powerless but honest hero wins and the bad guy gets his well-deserved punishment.
As German Jews were getting arrested or being forced to leave the country, the performances put on by the local branches of the Jewish Kulturbund (Culture Association) were among the few places of refuge where Jews could enjoy culture as in earlier days. Among other things, in the winter season of 1937/1938 the Jüdischer Kulturbund Berlin performed Tchaikovsky’s Eugene Onegin (Director: Dr. Kurt Singer) and Scribe’s The Ladies’ Battle (Director: Fritz Wisten). Since 1935, the Kulturbund’s venue had been the theater at 57 Kommandantenstrasse, the former Herrnfeld Theater, where popular Jewish plays had once been staged.
In his opening speech at the inauguration ceremony for the new Jewish community center in Hamburg, Max M. Warburg, scion of a renowned family of bankers, describes the challenges the community is facing at the present moment and states the mission of the building and its leadership in troubled times. Describing theater as a source not only of “uplift and joy” but also of “moral fortitude,” Warburg declares the community center to be intended first and foremost as a home for the performances of actors and musicians of the Jewish Kulturbund.
Werner Wilhelm Dambitsch was born on June 23, 1913 in Breslau (today Wroclaw, Poland). Werner was interested in music from an early age, but he had to purchase his first instrument, a saxophone, with money he had earned himself. He did this in 1932 at the age of 19 and founded with four friends the ‘Excentric [sic] Jazz Orchester’. In order to perform, the combo had to join the “Reichsverband der jüdischen Kulturbünde in Deutschland” (Reich Association of Jewish Cultural Federations) and was forced to change the name to “Erstes Jüdisches Jazz-Orchester” (First Jewish Jazz Orchestra). While the association did not guarantee steady income or employment, at least it allowed the artists to perform at events attended by Jewish audiences. This image shows Werner Dambitsch’s Kulturbund membership card.
The people on both sides of the camera shared a fate that was common to many thousands of German Jews: shortly after the Nazis seized power in 1933, Albert Einstein decided to immigrate permanently to the United States. He took the position of professor of theoretical physics at the Institute for Advanced Study in Princeton, where this picture was taken five years later. In light of the increasing difficulties after the Nazi seizure of power, the photographer Lotte Jacobi also left Germany and emigrated to the United States in 1935. Jacobi was unpersuaded by the Nazis’ offer to grant her the status of “Honorary Aryan.” She left behind a studio in Berlin which she had run together with her sister, Ruth, also an accomplished photographer. Among the many prominent figures Jacobi photographed were Marc Chagall, Martin Buber, Eleanor Roosevelt, Thomas Mann, and Kurt Weill.