For many Jewish children, going to public school turned into hell under the Nazis. Just getting there could mean running a gauntlet of anti-Jewish slights. At school, exclusion by fellow students and teachers was the rule. In order to spare their children this ordeal, parents who could afford it sent their children to Jewish schools. Before 1933, most assimilated German Jews attended public schools. However, in the hostile climate of the Nazi regime attendance at Jewish schools grew. Dr. Elieser L. Ehrmann, a pedagogue and employee of the school department of the Reich Representation of Jews in Germany had developed curricula for teachers at Jewish schools which aimed to deepen the knowledge of Jewish holidays and the customs accompanying them and thus instill a positive Jewish identity. The excerpt shown here is from Ehrmann’s “Curriculum for the Omer and Shavuot [Feast of Weeks],” published in 1938 by the Reich Representation of Jews in Germany. That year, the first day of Shavuot fell on June 5.
Close to 50 years before issuing an affidavit of support for his nephew, Karl Grosser, in Vienna, Frank W. Fenner had himself immigrated to the United States from Europe. A restaurant and confectionery owner in Mendon, Michigan, he pledged to support his young relative until the 26-year-old became financially independent. Finding a sponsor was a key prerequisite for obtaining an immigration visa that was often hard to fulfill. The visa process began by registering with the nearest US consulate, at which point a number on the waiting list was assigned. The length of the list depended on the number of Jews from a given country allowed to enter the US according to the quota system that had been in place since 1924. Despite the severe refugee crisis, quotas were not raised in 1938. During the waiting period, applicants had to procure all the required documents as well as certified copies. Prospective immigrants were lucky if their documents were still valid when their numbers came up.
Nobody saw fit to inform the worried wives of thousands of Jewish men arrested by the Nazis about their spouses’ whereabouts and the expected period of imprisonment. Many of them decided to go to the Rossauer Lände detention facility and the central police station in order to get information on the whereabouts of their loved ones. According to this June 3 report from the Jewish Telegraphic Agency, the detainees had been taken away in overcrowded railroad cars, many of them forced to remain in uncomfortable positions for up to five hours before departure. While there were intimations that those sent to the Dachau concentration camp in Germany would be exploited as construction workers in order to enlarge the camp and subsequently be released, many had no idea where their husbands were. The author of the report sees the “extraordinary callousness with which police have withheld information” as “one of the most terrifying aspects of the situation.”
In 19th century, the Central Association of German Citizens of Jewish Faith began to publish lists of spas and hotels at which Jewish guests were not welcome. Some resorts even advertised themselves as judenfrei (“free of Jews”). After World War I, the phenomenon known as Bäder-Antisemitismus (“spa antisemitism”) increased, and with the Nazi rise to power in 1933, it became official policy. By 1935, Jews had been effectively banned from the Northern German bathing resorts, and from spas in the interior of the country by 1937. It was not until the Anschluss in March 1938 that Jews were pushed out of Austrian spas as well. Bad Ischl and other locations in the Salzkammergut region were particularly popular with Jews, to the point that in 1922, the Austrian-Jewish writer Hugo Bettauer quipped that “it caused a stir when people suspected of being Aryans showed up.” In a notice from June 2, The Jewish Telegraphic Agency reports that at the behest of the Nazi commissioner in charge, Jews were to be “segregated in Jewish hotels and pensions” and were no longer permitted to attend cultural events in Bad Ischl.
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.”
Depicted here is the facade of the Jewish Hospital in Hamburg. The photograph is part of an album preceded by the above inscription dated May 29, 1938. The hospital was endowed by merchant and banker Salomon Heine, also known as the “Rothschild of Hamburg,” in memory of his late wife Betty and inaugurated in 1843. The poet Heinrich Heine, Salomon’s nephew and beneficiary, honored the occasion with his poem Das neue israelitische Hospital zu Hamburg, in which he called it “A hospital for poor, sick Jews, for human beings who are thrice miserable, afflicted with three vicious ailments, with poverty, bodily pain, and Jewishness!” Even though the Nazi regime had been undermining the hospital’s finances since 1933, it had withstood these measures and was still able to take care of its patients in May 1938.
A month and a half after the “Anschluss,” Paul Steiner is still incredulous. Everything seems so unbelievable, he writes in his diary, that “even ones own words are becoming astonishing and dubious.” He wonders what the outside world is doing for the Jews in light of German barbarity, especially for the Burgenland Jews, who were brutally expelled right after the “Anschluss” and ended up stranded in totally inadequate shelters while their belongings were appropriated by their former neighbors. Steiner also imagines the “revenge” that Jews will exact, shaming the world with their achievements once they are given the right to self-determination.
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 drawing shows the interior of the Prinzregentenstraße Synagogue in Berlin (Wilmersdorf). Built in 1930, the building was designed to fulfill the needs of a liberal congregation. As shown in the picture, the synagogue boasted a magnificent organ. Rabbi Leo Baeck gave the sermon at the opening ceremony. From 1933, when Jews began to be pushed out of Germany’s cultural life, the synagogue also became a Jewish cultural center.