TY - JOUR
T1 - Zinovii Tolkatchev's "Jesus in Majdanek “
T2 - A Soviet Jewish Artist Confronting the Holocaust
AU - Rajner, M.
N1 - in Nathanael Riemer, Avidov Lipsker and Michał Szulc (eds.), Jesus in den Juedischen Kulturen des 19. und 20. Jahrhunderts / Jesus in the Jewish Cultures of the 19th and 20th Century
PY - 2015
Y1 - 2015
N2 - In 1945, Zinovii Shenderovich Tolkatchev (1903–1977), a Soviet artist of Jewish origin, created a striking series of five images entitled “Jesus in Majdanek”. The series was the culmination of Tolkatchev‘s intensive preoccupation with the experience he, as a Red Army soldier, endured upon taking part in liberation of the concentration camps Majdanek and Auschwitz. Shocked by the actual sights he witnessed, he depicted Jesus as an actual camp inmate, wearing a striped uniform marked by every possible defamation sign – the Jewish yellow star, the red triangle of political prisoners, and the individual prison number, the numerical tattoo on his lower arm can also be seen. The different stages of camp life are portrayed as the traditional Passion of Christ. While showing the actual situations the artist based himself upon the well known European Renaissance paintings canonically depicting Jesus‘ suffering. The article places Tolkatchev‘s series in a broader cultural and visual context by exploring the development of the ‘historical Jesus' in the 19th century European thought and Russian realist art, and by examining the impact of the German avant-garde. By doing so, a deeper understanding of the universal message Tolkatchev's works entail is offered
AB - In 1945, Zinovii Shenderovich Tolkatchev (1903–1977), a Soviet artist of Jewish origin, created a striking series of five images entitled “Jesus in Majdanek”. The series was the culmination of Tolkatchev‘s intensive preoccupation with the experience he, as a Red Army soldier, endured upon taking part in liberation of the concentration camps Majdanek and Auschwitz. Shocked by the actual sights he witnessed, he depicted Jesus as an actual camp inmate, wearing a striped uniform marked by every possible defamation sign – the Jewish yellow star, the red triangle of political prisoners, and the individual prison number, the numerical tattoo on his lower arm can also be seen. The different stages of camp life are portrayed as the traditional Passion of Christ. While showing the actual situations the artist based himself upon the well known European Renaissance paintings canonically depicting Jesus‘ suffering. The article places Tolkatchev‘s series in a broader cultural and visual context by exploring the development of the ‘historical Jesus' in the 19th century European thought and Russian realist art, and by examining the impact of the German avant-garde. By doing so, a deeper understanding of the universal message Tolkatchev's works entail is offered
UR - https://www.academia.edu/20225798/Zinovii_Tolkatchevs_Jesus_in_Majdanek_._A_Soviet_Jewish_Artist_Confronting_the_Holocaust
UR - https://publishup.uni-potsdam.de/opus4-ubp/frontdoor/deliver/index/docId/8579/file/pardes21_s.59-85.pdf
M3 - Article
SN - 1614-6492
VL - 21
SP - 59
EP - 85
JO - PaRDeS; Zeitschrift der Vereinigung für Jüdische Studien
JF - PaRDeS; Zeitschrift der Vereinigung für Jüdische Studien
ER -