Already a few months back, the dentist Max Isidor Mahl and his wife, Etta, a textile worker, had submitted their visa application to the American consulate in Vienna. Ever since, they had been waiting. Etta was a native of Poland, Max Isidor a native of Ukraine. The American immigration quotas for both these countries were already filled. But time was of the essence: this bill shows that already in October, the Mahls had their entire household shipped to the United States in order to bring it to safety. Transportation from Vienna to Hamburg and then, on a freighter, to New York was expensive. It cost almost 800 Reichsmarks for the couple to send the 11 boxes containing their household effects out of the country.
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.
Ellis Levy, a Jewish attorney who lived in New York, decided to take up the cause of the immigrants fleeing Nazi persecution. In a letter to Mayor LaGuardia, an excerpt of which was published in the August issue of Aufbau, he pointed out that many of the newcomers were arriving in the country penniless, often after having been forced to abandon their studies or professional training. At the time of Mr. Ellis’s intervention, a bill regarding the possibility of opening city colleges to non-citizens was about to be brought before the Board of Higher Education. The attorney asked Mayor LaGuardia to exercise his influence on the Board to bring about a positive decision. This, he argued, would serve both the needs of the immigrants and the interests of U.S. democracy. And, indeed, it was decided, effective September 1 of that year, to admit to city colleges persons with adequate prior education who were in the process of naturalization.
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 in 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 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, 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. June 26, 1938 was his 49th birthday.
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.”
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 Triest 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.
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.
With its traveling exhibition “Degenerate Art,” initiated 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.
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.
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.