Jewish Museum
The Jewish Museum in Wroclaw operated only for a few years, but it was a very important pre-war institution in the city and region. The aim of the museum was to present the cultural, intellectual and material achievements of Silesian Jews who began to define their identity and history through collections of artefacts – from Judaica and synagogue, through archives, photographs and documents to works of art. It is worth emphasizing that it was also an important institution for non-Jewish residents of the city, as it enriched the cultural offer of Wroclaw, which was developing rapidly and aspired to compete with other large and modern German metropolises.
The presentation of Jewish art was also aimed at strengthening the sense of identity of Wroclaw Jews, especially in response to growing nationalist attitudes, and to familiarize a wide audience with it. The museum also initiated the organization of meetings and cultural events, united the artistic community and was used to establish cooperation with other similar institutions in the country. Activities in this field also proved that Jewish life slowly ceased to revolve around synagogues and religious events and focused on secular and bourgeois activity. Undoubtedly, it was also an expression of the ambition of a large community that felt the need to show its distinctiveness using the universal language of art.
The inauguration of the museum took place in 1929, and the first exhibition, organized on a grand scale, told about the role of Jews in the history of Silesia from 1050 to 1850. The exhibits came from Silesian synagogues, private collections as well as institutions and archives and were presented at the Silesian Museum of Fine Arts. A year earlier, the Jewish Museum Society was founded, which was the formal basis for establishing the institution. One of the curators and content supervisors was the historian and architect Alfred Grotte, an outstanding expert in Jewish culture and monuments. Max Silberberg, a collector and patron of the arts, acted as the president of the board. A large part of the Jewish community in Wroclaw was involved in the operation and development of this institution. The collections of the Jewish Theological Seminary also turned out to be extremely important in creating the museum collection – the school donated its valuable manuscripts and traditional religious items.
However, after the Nazis came to power, the Jews were forbidden to organize exhibitions at the Silesian Museum of Fine Arts, so the townhouse at today’s Grabiszyńska 61-65 was selected as its new seat. The aim of the Nazis was not only the Aryanization and the seizure of the property but also to completely eliminate the cultural and intellectual heritage of Jews. The rapidly increasing anti-Semitic movements, persecution and confiscation of property gradually prevented the functioning of the institution. The museum organized the events more and more rarely in the orphanage building on today’s Grabiszyńska Street, until in 1938, the Nazis finally closed the institution and confiscated the collection. A small part of it can now be found in private collections and institutions all over the world.
Havdalah candle of the Jewish Museum in Wroclaw (The Emanuel Ringelblum Jewish Historical Institute)
Painting
Artists of Jewish origin stood out on the artistic scene of Wroclaw. Among this group, there were extremely famous Heinrich Tischler and Clara Sachs, whose works were appreciated not only in Silesia. Among the most eminent artists associated with Wrocław there were also Eugen Spiro, Isidor Ascheim, Ludwig Meidner and Paula Grünfeld. Many art connoisseurs – both private and those assembled around the Jewish Museum – also supported local artists.
Clara Sachs came from an extremely wealthy family where art was valued. She learned painting mainly privately, also from famous artists, i.e. Eugen Spiro. In her works, we can distinguish landscapes, as the artist was visibly influenced by both German and French Impressionism. She quickly gained fame, not only because of her works but also because she was active in Wroclaw’s cultural environment; she also belonged to the Association of Silesian Artists. Clara Sachs is buried in the family tomb at the Old Jewish Cemetery at Ślężna Street.
One of the most valued artists associated with Wroclaw was Siegfried Laboschin, born in Gniezno. In addition to his artistic activity, the painter ran an art school and was an art critic and editor in the “Breslauer Zeitung” daily magazine. His work was inseparably linked with Wroclaw – he created, for instance, graphics depicting the Jewish quarter. He was also the creator of etchings depicting the most recognizable places and buildings in Wroclaw. In his art, we can also find topics related to traditional Judaism, as he presented, for instance, praying Orthodox Jews.
Heinrich Tischler was an expressionist; he created graphics, lithographs and woodcuts. His versatile work quickly gained recognition in Germany, and his works were sought after by institutions and art dealers. He designed, among others, the interiors in the New Synagogue and in the Rudolf Petersdorff Department Store. Importantly, his paintings were inspired by Judaism, Jewish tradition and Yiddish tradition; he also painted dark scenes of pogroms against Eastern European Jews. After the Nazis came to power, he could no longer stage his play, so he earned his living as a teacher at a Jewish school. In 1938, he was sent to the concentration camp in Buchenwald, from which he was released, but as a result of his injuries and exhaustion, he died after returning to Wroclaw. Heinrich Tischler is buried at the New Jewish Cemetery at Lotnicza Street.
Flowers by Clara Sachs (National Museum in Wroclaw)
The Morning Prayer II by Siegfried Laboschin (Leo Baeck Institute)