Page 146 - Jewish Book Annual Volume 42

Basic HTML Version

Fig. 1.
Pogrom III,
1916, drawing, formerly Lovis Corinth collection.
spired by the Kishinev massacre o f 1903, portray d ifferent re­
sults o f the pogrom: the victims flee their village, as in Samuel
of 1904, or sit stony-faced and exhausted as
in Mauricy Minikowsky’s
After the Pogrom
o f ca. 1904 (Tel Aviv
Museum) or hunched over, mourning the dead as in Leonid
After the Pogrom
.2 This type of imagery continued to
be used in response to the pogroms of World War I: Minikowsky
portrayed both the exiled villagers in
o f 1919 (Ein
Harod Museum) and a despondent father and daugh ter in
o f 1916 (Tel Aviv Museum), while Moisei L. Maimon en­
larged upon the theme in
After the Pogrom
o f 1917 (Tel Aviv
Museum), in which a wounded Jewish soldier returns home to
find his wife and daughter slaughtered, his father half-mad with
sorrow and his home wrecked.3
Ost und West,
vol. 4, 1904, pp. 555-58, and vol. 7, 1907, pp. 767-68; and Chaim
N. Bialik and Max Osborn,
L. Pasternak,
Warsaw: Stybel, 1924, p. 3.
3 This is a purposeful inversion o f the joyous scene o f reunion Mauricy
Oppenheim had painted in
The Return o f theJewish Volunteer
o f 1833-34, which