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Jesekiel David Kirszenbaum (1900–1954). Student of the Bauhaus

Self-portrait, ca. 1925. Oil on canvas, 55 x 37.5 cm

Mediathek Sorted

Media library
Fig. 1: J.D. Kirszenbaum, 1920 - J.D. Kirszenbaum drawing a portrait, 1920. Photograph owned by the family
Fig. 1: J.D. Kirszenbaum, 1920
Fig. 1: J.D. Kirszenbaum, 1920 - J.D. Kirszenbaum drawing a portrait, 1920. Photograph owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 2: Study of Maïmonide, 1925 - Studying the Maïmonide, 1925. Ink on paper, 50 x 32 cm, owned by the family
Fig. 2: Study of Maïmonide, 1925
Fig. 2: Study of Maïmonide, 1925 - Studying the Maïmonide, 1925. Ink on paper, 50 x 32 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 3: Musicians and their disciples, 1925 - Musicians and their disciples, 1925. Ink on paper, 50 x 32 cm, owned by the family
Fig. 3: Musicians and their disciples, 1925
Fig. 3: Musicians and their disciples, 1925 - Musicians and their disciples, 1925. Ink on paper, 50 x 32 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 4: Sorrow, ca. 1925 - Sorrow, ca. 1925. Watercolour, 35.5 x 25 cm, Jewish Historical Institute/Żydowski Instytut Historyczny im. Emanuela Ringelbluma, Warsaw
Fig. 4: Sorrow, ca. 1925
Fig. 4: Sorrow, ca. 1925 - Sorrow, ca. 1925. Watercolour, 35.5 x 25 cm, Jewish Historical Institute/Żydowski Instytut Historyczny im. Emanuela Ringelbluma, Warsaw © Kirszenbaum Estate, Tel Aviv
Fig. 1: J.D. Kirszenbaum, 1920
J.D. Kirszenbaum drawing a portrait, 1920. Photograph owned by the family
Fig. 2: Study of Maïmonide, 1925
Studying the Maïmonide, 1925. Ink on paper, 50 x 32 cm, owned by the family
Fig. 3: Musicians and their disciples, 1925
Musicians and their disciples, 1925. Ink on paper, 50 x 32 cm, owned by the family
Fig. 4: Sorrow, ca. 1925
Sorrow, ca. 1925. Watercolour, 35.5 x 25 cm, Jewish Historical Institute/Żydowski Instytut Historyczny im. Emanuela Ringelbluma, Warsaw
Fig. 5: Fiddler in the Shtetl, ca. 1925 - Fiddler in the Shtetl, ca. 1925 Oil on canvas, 90 x 71 cm, Frans Hals Museum, Haarlem
Fig. 5: Fiddler in the Shtetl, ca. 1925
Fig. 5: Fiddler in the Shtetl, ca. 1925 - Fiddler in the Shtetl, ca. 1925 Oil on canvas, 90 x 71 cm, Frans Hals Museum, Haarlem © Kirszenbaum Estate, Tel Aviv
Fig. 6: The wedding, 1925 - The wedding, 1925. Ink on paper, 28 x 22 cm, Jewish Historical Institute/Żydowski Instytut Historyczny im. Emanuela Ringelbluma, Warsaw
Fig. 6: The wedding, 1925
Fig. 6: The wedding, 1925 - The wedding, 1925. Ink on paper, 28 x 22 cm, Jewish Historical Institute/Żydowski Instytut Historyczny im. Emanuela Ringelbluma, Warsaw © Kirszenbaum Estate, Tel Aviv
Fig. 7: In the Beth Hamidrasch, ca. 1925 - In the Beth Hamidrasch, ca. 1925. Etching, 15 x 12 cm, owned by the family
Fig. 7: In the Beth Hamidrasch, ca. 1925
Fig. 7: In the Beth Hamidrasch, ca. 1925 - In the Beth Hamidrasch, ca. 1925. Etching, 15 x 12 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 8: Midnight prayer, ca. 1925 - Midnight prayer, ca. 1925. Etching, 15 x 12 cm, owned by the family
Fig. 8: Midnight prayer, ca. 1925
Fig. 8: Midnight prayer, ca. 1925 - Midnight prayer, ca. 1925. Etching, 15 x 12 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 5: Fiddler in the Shtetl, ca. 1925
Fiddler in the Shtetl, ca. 1925 Oil on canvas, 90 x 71 cm, Frans Hals Museum, Haarlem
Fig. 6: The wedding, 1925
The wedding, 1925. Ink on paper, 28 x 22 cm, Jewish Historical Institute/Żydowski Instytut Historyczny im. Emanuela Ringelbluma, Warsaw
Fig. 7: In the Beth Hamidrasch, ca. 1925
In the Beth Hamidrasch, ca. 1925. Etching, 15 x 12 cm, owned by the family
Fig. 8: Midnight prayer, ca. 1925
Midnight prayer, ca. 1925. Etching, 15 x 12 cm, owned by the family
Fig. 9: Yom Kippur, ca. 1925 - Yom Kippur prayer, ca. 1925. Etching, 10 x 14 cm, owned by the family
Fig. 9: Yom Kippur, ca. 1925
Fig. 9: Yom Kippur, ca. 1925 - Yom Kippur prayer, ca. 1925. Etching, 10 x 14 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 10: Hassidim, 1925 - Dance of the Hassidim, 1925. Drypoint etching, 25 x 17.5 cm, owned by the family
Fig. 10: Hassidim, 1925
Fig. 10: Hassidim, 1925 - Dance of the Hassidim, 1925. Drypoint etching, 25 x 17.5 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 11: Cossack pogrom, ca. 1930 - Pogrom by the Cossacks, ca. 1930. Etching, 25 x 27 cm, owned by the family
Fig. 11: Cossack pogrom, ca. 1930
Fig. 11: Cossack pogrom, ca. 1930 - Pogrom by the Cossacks, ca. 1930. Etching, 25 x 27 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 12: Water carrier, 1925/26 - Water carrier, 1925/26. Illustration to accompany: Adam Olearius, Die erste russische Revoulution (1656), in: Der Querschnitt, Volume 7, Berlin 1927, Issue 3, page 195
Fig. 12: Water carrier, 1925/26
Fig. 12: Water carrier, 1925/26 - Water carrier, 1925/26. Illustration to accompany: Adam Olearius, Die erste russische Revoulution (1656), in: Der Querschnitt, Volume 7, Berlin 1927, Issue 3, page 195 © SLUB Dresden/DFG, https://www.arthistoricum.net/
Fig. 9: Yom Kippur, ca. 1925
Yom Kippur prayer, ca. 1925. Etching, 10 x 14 cm, owned by the family
Fig. 10: Hassidim, 1925
Dance of the Hassidim, 1925. Drypoint etching, 25 x 17.5 cm, owned by the family
Fig. 11: Cossack pogrom, ca. 1930
Pogrom by the Cossacks, ca. 1930. Etching, 25 x 27 cm, owned by the family
Fig. 12: Water carrier, 1925/26
Water carrier, 1925/26. Illustration to accompany: Adam Olearius, Die erste russische Revoulution (1656), in: Der Querschnitt, Volume 7, Berlin 1927, Issue 3, page 195
Fig. 13: Harmonica player, 1925/26 - Harmonica player, 1925/26. Illustration to accompany: S. Dimitrijewski, Stalin – Aufstieg eines Mannes, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 6, page 367
Fig. 13: Harmonica player, 1925/26
Fig. 13: Harmonica player, 1925/26 - Harmonica player, 1925/26. Illustration to accompany: S. Dimitrijewski, Stalin – Aufstieg eines Mannes, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 6, page 367 © SLUB Dresden/DFG, https://www.arthistoricum.net/
Fig. 14: Fiddler, 1926 - Fiddler, 1926. Illustration to accompany: Ramon Gomez de la Serna: Maria Wassiljewna. Russische Novelle, in: Der Querschnitt, Volume 9, Berlin 1929, Issue 2, page 95
Fig. 14: Fiddler, 1926
Fig. 14: Fiddler, 1926 - Fiddler, 1926. Illustration to accompany: Ramon Gomez de la Serna: Maria Wassiljewna. Russische Novelle, in: Der Querschnitt, Volume 9, Berlin 1929, Issue 2, page 95 © SLUB Dresden/DFG, https://www.arthistoricum.net/
Fig. 15: Satirical illustrations, 1926 - Three satirical illustrations. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 21, 12 March 1926, page 82
Fig. 15: Satirical illustrations, 1926
Fig. 15: Satirical illustrations, 1926 - Three satirical illustrations. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 21, 12 March 1926, page 82 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1926/0082
Fig. 16: Three cartoons, 1926 - Three cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th  Edition, No. 21, 28 May 1926, page 158
Fig. 16: Three cartoons, 1926
Fig. 16: Three cartoons, 1926 - Three cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 21, 28 May 1926, page 158 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1926/0158
Fig. 13: Harmonica player, 1925/26
Harmonica player, 1925/26. Illustration to accompany: S. Dimitrijewski, Stalin – Aufstieg eines Mannes, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 6, page 367
Fig. 14: Fiddler, 1926
Fiddler, 1926. Illustration to accompany: Ramon Gomez de la Serna: Maria Wassiljewna. Russische Novelle, in: Der Querschnitt, Volume 9, Berlin 1929, Issue 2, page 95
Fig. 15: Satirical illustrations, 1926
Three satirical illustrations. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 21, 12 March 1926, page 82
Fig. 16: Three cartoons, 1926
Three cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 21, 28 May 1926, page 158
Fig. 17: Carte blanche for the “truth”!, 1926 - Carte blanche for the “truth”! In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 26, 2 July 1926, page 195
Fig. 17: Carte blanche for the “truth”!, 1926
Fig. 17: Carte blanche for the “truth”!, 1926 - Carte blanche for the “truth”! In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 26, 2 July 1926, page 195 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1926/0195
Fig. 18: Mistaken, 1926 - Mistaken. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 35, 3 September 1926, page 267
Fig. 18: Mistaken, 1926
Fig. 18: Mistaken, 1926 - Mistaken. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 35, 3 September 1926, page 267 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1926/0267
Fig. 19: Three cartoons, 1926 - Three cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 36, 10 September 1926, page 274
Fig. 19: Three cartoons, 1926
Fig. 19: Three cartoons, 1926 - Three cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 36, 10 September 1926, page 274 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1926/0274
Fig. 20: Buds of the Nation, 1926 - Buds of the Nation. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 47, 26 November 1926, page 367
Fig. 20: Buds of the Nation, 1926
Fig. 20: Buds of the Nation, 1926 - Buds of the Nation. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 47, 26 November 1926, page 367 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1926/0367
Fig. 17: Carte blanche for the “truth”!, 1926
Carte blanche for the “truth”! In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 26, 2 July 1926, page 195
Fig. 18: Mistaken, 1926
Mistaken. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 35, 3 September 1926, page 267
Fig. 19: Three cartoons, 1926
Three cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 36, 10 September 1926, page 274
Fig. 20: Buds of the Nation, 1926
Buds of the Nation. In: Ulk. Weekly Publication of the Berliner Tageblatt, 55th Edition, No. 47, 26 November 1926, page 367
Fig. 21: Film stars, 1927 - Film stars. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 5, 4 February 1927, page 38
Fig. 21: Film stars, 1927
Fig. 21: Film stars, 1927 - Film stars. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 5, 4 February 1927, page 38 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0038
Fig. 22: The sporty friend of the family, 1927 - The sporty friend of the family In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 6, 11 February 1927, page 43
Fig. 22: The sporty friend of the family, 1927
Fig. 22: The sporty friend of the family, 1927 - The sporty friend of the family In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 6, 11 February 1927, page 43 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0043
Fig. 23: Beauty treatment, 1927 - Beauty treatment. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 11, 18 March 1927, page 83
Fig. 23: Beauty treatment, 1927
Fig. 23: Beauty treatment, 1927 - Beauty treatment. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 11, 18 March 1927, page 83 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0083
Fig. 24: Tedious times, 1927 - Tedious times. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 14, 8 April 1927, page 107
Fig. 24: Tedious times, 1927
Fig. 24: Tedious times, 1927 - Tedious times. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 14, 8 April 1927, page 107 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0107
Fig. 21: Film stars, 1927
Film stars. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 5, 4 February 1927, page 38
Fig. 22: The sporty friend of the family, 1927
The sporty friend of the family In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 6, 11 February 1927, page 43
Fig. 23: Beauty treatment, 1927
Beauty treatment. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 11, 18 March 1927, page 83
Fig. 24: Tedious times, 1927
Tedious times. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 14, 8 April 1927, page 107
Fig. 25: Dawn, 1927 - Dawn. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 17, 29 April 1927, page 126
Fig. 25: Dawn, 1927
Fig. 25: Dawn, 1927 - Dawn. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 17, 29 April 1927, page 126 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0126
Fig. 26: Patriotism, 1927 - Patriotism. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 18, 6 May 1927, page 134
Fig. 26: Patriotism, 1927
Fig. 26: Patriotism, 1927 - Patriotism. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 18, 6 May 1927, page 134 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0134
Fig. 27: Summer fashion, 1927 - Summer fashion. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 25, 24 June 1927, page 187
Fig. 27: Summer fashion, 1927
Fig. 27: Summer fashion, 1927 - Summer fashion. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 25, 24 June 1927, page 187 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0187
Fig. 28: Difficult case, 1927 - Difficult case. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 30, 29 July 1927, page 230
Fig. 28: Difficult case, 1927
Fig. 28: Difficult case, 1927 - Difficult case. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 30, 29 July 1927, page 230 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0230
Fig. 25: Dawn, 1927
Dawn. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 17, 29 April 1927, page 126
Fig. 26: Patriotism, 1927
Patriotism. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 18, 6 May 1927, page 134
Fig. 27: Summer fashion, 1927
Summer fashion. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 25, 24 June 1927, page 187
Fig. 28: Difficult case, 1927
Difficult case. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 30, 29 July 1927, page 230
Fig. 29: Remedy for obesity, 1927 - Remedy for obesity. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 41, 14 October 1927, page 319
Fig. 29: Remedy for obesity, 1927
Fig. 29: Remedy for obesity, 1927 - Remedy for obesity. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 41, 14 October 1927, page 319 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0319
Fig. 30: Two cartoons, 1927 - Two cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 45, 11 November 1927, page 351
Fig. 30: Two cartoons, 1927
Fig. 30: Two cartoons, 1927 - Two cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 45, 11 November 1927, page 351 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1927/0351
Fig. 31: The Expressionists´ Ball, 1928 - The Expressionists´ Ball. In: Ulk. Weekly Publication of the Berliner Tageblatt, 57th Edition, No. 44, 2 November 1928, page 354
Fig. 31: The Expressionists´ Ball, 1928
Fig. 31: The Expressionists´ Ball, 1928 - The Expressionists´ Ball. In: Ulk. Weekly Publication of the Berliner Tageblatt, 57th Edition, No. 44, 2 November 1928, page 354 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/ulk1928/0354
Fig. 32: The art enthusiast, 1929 - The art enthusiast. In: Jugend, 34th Edition, Munich 1929, No. 28, page 450
Fig. 32: The art enthusiast, 1929
Fig. 32: The art enthusiast, 1929 - The art enthusiast. In: Jugend, 34th Edition, Munich 1929, No. 28, page 450 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/jugend1929/0453
Fig. 29: Remedy for obesity, 1927
Remedy for obesity. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 41, 14 October 1927, page 319
Fig. 30: Two cartoons, 1927
Two cartoons. In: Ulk. Weekly Publication of the Berliner Tageblatt, 56th Edition, No. 45, 11 November 1927, page 351
Fig. 31: The Expressionists´ Ball, 1928
The Expressionists´ Ball. In: Ulk. Weekly Publication of the Berliner Tageblatt, 57th Edition, No. 44, 2 November 1928, page 354
Fig. 32: The art enthusiast, 1929
The art enthusiast. In: Jugend, 34th Edition, Munich 1929, No. 28, page 450
Fig. 33: Everyone once in prison, 1929 - Everyone once in prison. In: Jugend, 34th Edition, Munich 1929, No. 37, page 597
Fig. 33: Everyone once in prison, 1929
Fig. 33: Everyone once in prison, 1929 - Everyone once in prison. In: Jugend, 34th Edition, Munich 1929, No. 37, page 597 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/jugend1929/0601
Fig. 34: Snippets of conversation, 1931 - Snippets of conversation. In: Jugend, 36th Edition, Munich 1931, No. 29, page 457
Fig. 34: Snippets of conversation, 1931
Fig. 34: Snippets of conversation, 1931 - Snippets of conversation. In: Jugend, 36th Edition, Munich 1931, No. 29, page 457 © Universitätsbibliothek Heidelberg, http://digi.ub.uni-heidelberg.de/diglit/jugend1931/0458
Fig. 35: The table of regulars, 1931 - The table of regulars. Illustration to accompany: Jules Sauerwein, Verständnis für Deutschland, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 5, page 291
Fig. 35: The table of regulars, 1931
Fig. 35: The table of regulars, 1931 - The table of regulars. Illustration to accompany: Jules Sauerwein, Verständnis für Deutschland, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 5, page 291 © SLUB Dresden/DFG, https://www.arthistoricum.net/
Fig. 36: Matadors of the Reichstag, 1931 - Matadors of the Reichstag. Illustration to accompany: O.B. Server, Matadore des Reichstags VII, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 8, page 555
Fig. 36: Matadors of the Reichstag, 1931
Fig. 36: Matadors of the Reichstag, 1931 - Matadors of the Reichstag. Illustration to accompany: O.B. Server, Matadore des Reichstags VII, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 8, page 555 © SLUB Dresden/DFG, https://www.arthistoricum.net/
Fig. 33: Everyone once in prison, 1929
Everyone once in prison. In: Jugend, 34th Edition, Munich 1929, No. 37, page 597
Fig. 34: Snippets of conversation, 1931
Snippets of conversation. In: Jugend, 36th Edition, Munich 1931, No. 29, page 457
Fig. 35: The table of regulars, 1931
The table of regulars. Illustration to accompany: Jules Sauerwein, Verständnis für Deutschland, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 5, page 291
Fig. 36: Matadors of the Reichstag, 1931
Matadors of the Reichstag. Illustration to accompany: O.B. Server, Matadore des Reichstags VII, in: Der Querschnitt, Volume 11, Berlin 1931, Issue 8, page 555
Fig. 37: Man with cigarette, 1935 - Man with cigarette, 1935. Watercolour, 47 x 35 cm, owned by the family
Fig. 37: Man with cigarette, 1935
Fig. 37: Man with cigarette, 1935 - Man with cigarette, 1935. Watercolour, 47 x 35 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 38: The Jewish villagers, 1937 - The Jewish villagers greeting the Messiah, 1937. Oil on artist’s board, 59  x 69 cm, The Israel Museum, Jerusalem
Fig. 38: The Jewish villagers, 1937
Fig. 38: The Jewish villagers, 1937 - The Jewish villagers greeting the Messiah, 1937. Oil on artist’s board, 59 x 69 cm, The Israel Museum, Jerusalem © Kirszenbaum Estate, Tel Aviv
Fig. 39: The arrival of the Messiah, 1939 - The arrival of the Messiah in the village, 1939. Oil on canvas, 60 x 75 cm, owned by the family
Fig. 39: The arrival of the Messiah, 1939
Fig. 39: The arrival of the Messiah, 1939 - The arrival of the Messiah in the village, 1939. Oil on canvas, 60 x 75 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 40: Family on the move, 1939 - Family with wagon on the move, 1939. From the series: Exodus, etching, 10 x 12 cm, owned by the family
Fig. 40: Family on the move, 1939
Fig. 40: Family on the move, 1939 - Family with wagon on the move, 1939. From the series: Exodus, etching, 10 x 12 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 37: Man with cigarette, 1935
Man with cigarette, 1935. Watercolour, 47 x 35 cm, owned by the family
Fig. 38: The Jewish villagers, 1937
The Jewish villagers greeting the Messiah, 1937. Oil on artist’s board, 59 x 69 cm, The Israel Museum, Jerusalem
Fig. 39: The arrival of the Messiah, 1939
The arrival of the Messiah in the village, 1939. Oil on canvas, 60 x 75 cm, owned by the family
Fig. 40: Family on the move, 1939
Family with wagon on the move, 1939. From the series: Exodus, etching, 10 x 12 cm, owned by the family
Fig. 41: Fleeing, 1939 - Fleeing, 1939. From the series: Exodus, etching, 9 x 12 cm, owned by the family
Fig. 41: Fleeing, 1939
Fig. 41: Fleeing, 1939 - Fleeing, 1939. From the series: Exodus, etching, 9 x 12 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 42: Water carrier, 1942 - Water carrier from Staszów, 1942. Oil on canvas, 50 x 40 cm, owned by the family
Fig. 42: Water carrier, 1942
Fig. 42: Water carrier, 1942 - Water carrier from Staszów, 1942. Oil on canvas, 50 x 40 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 43: The Messiah, 1942 - The Messiah and angels arriving in the village, 1942. Oil on canvas, 40 x 45 cm, owned by the family
Fig. 43: The Messiah, 1942
Fig. 43: The Messiah, 1942 - The Messiah and angels arriving in the village, 1942. Oil on canvas, 40 x 45 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 44: On the run, 1945 - A mother and two children on the run, 1945. Oil on paintersá card, 37 x 37 cm, owned by the family
Fig. 44: On the run, 1945
Fig. 44: On the run, 1945 - A mother and two children on the run, 1945. Oil on paintersá card, 37 x 37 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 41: Fleeing, 1939
Fleeing, 1939. From the series: Exodus, etching, 9 x 12 cm, owned by the family
Fig. 42: Water carrier, 1942
Water carrier from Staszów, 1942. Oil on canvas, 50 x 40 cm, owned by the family
Fig. 43: The Messiah, 1942
The Messiah and angels arriving in the village, 1942. Oil on canvas, 40 x 45 cm, owned by the family
Fig. 44: On the run, 1945
A mother and two children on the run, 1945. Oil on paintersá card, 37 x 37 cm, owned by the family
Fig. 45: Man from Staszów, ca. 1946 - Man from Staszów, ca. 1946. Oil on canvas, 50 x 45 cm, owned by the family
Fig. 45: Man from Staszów, ca. 1946
Fig. 45: Man from Staszów, ca. 1946 - Man from Staszów, ca. 1946. Oil on canvas, 50 x 45 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 46: Jew with pipe - Portrait of Jew with pipe, undated. Oil on canvas, 61 x 45.4 cm, The Israel Museum, Jerusalem
Fig. 46: Jew with pipe
Fig. 46: Jew with pipe - Portrait of Jew with pipe, undated. Oil on canvas, 61 x 45.4 cm, The Israel Museum, Jerusalem © Kirszenbaum Estate, Tel Aviv
Fig. 47: The Messiah in the shtetl, 1946 - The arrival of the Messiah in the shtetl, 1946. Oil on canvas, 40 x 45 cm, owned by the family
Fig. 47: The Messiah in the shtetl, 1946
Fig. 47: The Messiah in the shtetl, 1946 - The arrival of the Messiah in the shtetl, 1946. Oil on canvas, 40 x 45 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 48: Rabbi, 1947 - Rabbi, 1947. Oil on canvas, 75 x 60 cm, owned by the family
Fig. 48: Rabbi, 1947
Fig. 48: Rabbi, 1947 - Rabbi, 1947. Oil on canvas, 75 x 60 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 45: Man from Staszów, ca. 1946
Man from Staszów, ca. 1946. Oil on canvas, 50 x 45 cm, owned by the family
Fig. 46: Jew with pipe
Portrait of Jew with pipe, undated. Oil on canvas, 61 x 45.4 cm, The Israel Museum, Jerusalem
Fig. 47: The Messiah in the shtetl, 1946
The arrival of the Messiah in the shtetl, 1946. Oil on canvas, 40 x 45 cm, owned by the family
Fig. 48: Rabbi, 1947
Rabbi, 1947. Oil on canvas, 75 x 60 cm, owned by the family
Fig. 49: No room for Jews - There is no room for Jews in our world, undated. Oil on canvas, 33 x 40 cm, owned by the family
Fig. 49: No room for Jews
Fig. 49: No room for Jews - There is no room for Jews in our world, undated. Oil on canvas, 33 x 40 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 50: Self-portrait, 1946 - Self-portrait, 1946. Oil on canvas, 78 x 60 cm, Frans Hals Museum, Haarlem
Fig. 50: Self-portrait, 1946
Fig. 50: Self-portrait, 1946 - Self-portrait, 1946. Oil on canvas, 78 x 60 cm, Frans Hals Museum, Haarlem © Kirszenbaum Estate, Tel Aviv
Fig. 51: Portrait of Robert Giraud, 1946 - Portrait of Robert Giraud, 1946. Oil on canvas, 46 x 37 cm, owned by the family
Fig. 51: Portrait of Robert Giraud, 1946
Fig. 51: Portrait of Robert Giraud, 1946 - Portrait of Robert Giraud, 1946. Oil on canvas, 46 x 37 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 52: The butcher, 1947/48 - The butcher (Le Boucher), 1947/48. Watercolour, 54 x 41 cm, Centre national des arts plastiques, Paris
Fig. 52: The butcher, 1947/48
Fig. 52: The butcher, 1947/48 - The butcher (Le Boucher), 1947/48. Watercolour, 54 x 41 cm, Centre national des arts plastiques, Paris © Kirszenbaum Estate, Tel Aviv
Fig. 49: No room for Jews
There is no room for Jews in our world, undated. Oil on canvas, 33 x 40 cm, owned by the family
Fig. 50: Self-portrait, 1946
Self-portrait, 1946. Oil on canvas, 78 x 60 cm, Frans Hals Museum, Haarlem
Fig. 51: Portrait of Robert Giraud, 1946
Portrait of Robert Giraud, 1946. Oil on canvas, 46 x 37 cm, owned by the family
Fig. 52: The butcher, 1947/48
The butcher (Le Boucher), 1947/48. Watercolour, 54 x 41 cm, Centre national des arts plastiques, Paris
Fig. 53: Brazilian boy, 1947 - Brazilian boy with kite, 1947. Oil on canvas, 46 x 25 cm, Mishkan Museum of Art, Ein Harod
Fig. 53: Brazilian boy, 1947
Fig. 53: Brazilian boy, 1947 - Brazilian boy with kite, 1947. Oil on canvas, 46 x 25 cm, Mishkan Museum of Art, Ein Harod © Kirszenbaum Estate, Tel Aviv
Fig. 54: Festa de São João, 1952 - Festa de São João in São Paulo, 1952. Oil on canvas, 117 x 80 cm, Centre national des arts plastiques, Paris
Fig. 54: Festa de São João, 1952
Fig. 54: Festa de São João, 1952 - Festa de São João in São Paulo, 1952. Oil on canvas, 117 x 80 cm, Centre national des arts plastiques, Paris © Kirszenbaum Estate, Tel Aviv
Fig. 55: In his Parisian studio, ca. 1952 - J.D. Kirszenbaum in his studio in Paris, ca. 1952. Photograph owned by the family
Fig. 55: In his Parisian studio, ca. 1952
Fig. 55: In his Parisian studio, ca. 1952 - J.D. Kirszenbaum in his studio in Paris, ca. 1952. Photograph owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 56: Fish with abstract background - Fish with abstract background, undated. Watercolour, 30 x 48 cm, owned by the family
Fig. 56: Fish with abstract background
Fig. 56: Fish with abstract background - Fish with abstract background, undated. Watercolour, 30 x 48 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 53: Brazilian boy, 1947
Brazilian boy with kite, 1947. Oil on canvas, 46 x 25 cm, Mishkan Museum of Art, Ein Harod
Fig. 54: Festa de São João, 1952
Festa de São João in São Paulo, 1952. Oil on canvas, 117 x 80 cm, Centre national des arts plastiques, Paris
Fig. 55: In his Parisian studio, ca. 1952
J.D. Kirszenbaum in his studio in Paris, ca. 1952. Photograph owned by the family
Fig. 56: Fish with abstract background
Fish with abstract background, undated. Watercolour, 30 x 48 cm, owned by the family
Fig. 57: Abstract - Abstract, undated. Gouache, 17 x 22,5 cm, owned by the family
Fig. 57: Abstract
Fig. 57: Abstract - Abstract, undated. Gouache, 17 x 22,5 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 58: Fish, 1954 - Fish on flat background, 1954. Oil on canvas, 35 x 28 cm, owned by the family
Fig. 58: Fish, 1954
Fig. 58: Fish, 1954 - Fish on flat background, 1954. Oil on canvas, 35 x 28 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
Fig. 59: The Prophet Elijah, ca. 1954 - The Prophet Elijah, ca. 1954. Watercolour, 75 x 95 cm, owned by the family
Fig. 59: The Prophet Elijah, ca. 1954
Fig. 59: The Prophet Elijah, ca. 1954 - The Prophet Elijah, ca. 1954. Watercolour, 75 x 95 cm, owned by the family © Kirszenbaum Estate, Tel Aviv
PDF 1: Der Sturm catalogue, 1927 - J.D. Kirschenbaum exhibition. Paintings, watercolours, drawings, Der Sturm catalogue, Berlin, April 1927
PDF 1: Der Sturm catalogue, 1927
PDF 1: Der Sturm catalogue, 1927 - J.D. Kirschenbaum exhibition. Paintings, watercolours, drawings, Der Sturm catalogue, Berlin, April 1927
Fig. 57: Abstract
Abstract, undated. Gouache, 17 x 22,5 cm, owned by the family
Fig. 58: Fish, 1954
Fish on flat background, 1954. Oil on canvas, 35 x 28 cm, owned by the family
Fig. 59: The Prophet Elijah, ca. 1954
The Prophet Elijah, ca. 1954. Watercolour, 75 x 95 cm, owned by the family
PDF 1: Der Sturm catalogue, 1927
J.D. Kirschenbaum exhibition. Paintings, watercolours, drawings, Der Sturm catalogue, Berlin, April 1927
PDF 2: Die Rote Fahne, 1931
Alfred Durus: Ein Künstler des ostjüdischen Proletariats. J.D. Kirschenbaum, in: Die Rote Fahne dated 5 November 1931
PDF 3: Ten watercolours by Kirszenbaum, 1953
Ten watercolours by Kirszenbaum. Inspired by the Hassidic legends of I. L. Peretz. Preface by Waldemar George, Paris: Au pont des arts, 1953
More
Self-portrait, ca. 1925. Oil on canvas, 55 x 37.5 cm
Self-portrait, ca. 1925. Oil on canvas, 55 x 37.5 cm

“What other children were allowed to do, was off limits for me”, writes Kirszenbaum in his memoirs about his childhood and youth in Staszów.[1] As the youngest child of the rabbi Natan Majer Kirszenbaum and his wife Alta, née Ledermann, his calling was to be a rabbi, so it was not becoming for him to take part in the other children’s games. In the Cheder, the religious primary school, his interest was awakened by the fantastically embellished stories of the Chumasch, the five printed books of the Tora, and the folk legends in the Sefer ha-Jaschar, the mediaeval Book of Jashar, whilst the Talmud and its commentaries bored him. He lived in a dream world and longed for stories full of imagination and creativity. After he lost both his older brothers to illness at the age of 10 and 13, his parents started to embrace fanatical religious beliefs whilst he lay in the meadow, daydreaming and thinking about things that only existed in his sub-conscious, instead of immersing himself in the Talmud in the Beth Midrasch, the study room.

What made him happy was the way of life of the simple Jewish people, the wandering musicians with their parrots who played at the Jewish festivals, and the load carriers and water carriers with their colourful robes. He felt the urge to draw, especially portraits, which was forbidden because of the Jewish prohibition on representing living forms in images, and for which he was hit by his father. In Staszów during the First World War he experienced at first hand the Cossacks passing through his village and the Jewish pogrom. He also saw Austrian and German troops, plundering and murdering Tsarists, who took Jews away with them. When he was sixteen or seventeen, he began to read classic Yiddish authors like Jizchok Leib Perez (I.L. Peretz) and Spinoza and became an Epikoros, a critic of the Jewish religion. He hung around with his friends and with girls, became a member of the socialist-zionist Hashomer-Hatzair youth movement, was hit by his parents again and fled to relatives in the neighbouring village.

Having returned to his parents, he started reading books and drawing again. His portraits of Jewish ideologists Theodor Herzl, Karl Marx and Wladimir Medem hung in the clubs in Staszów and the surrounding towns, and his portraits of Yiddish authors Mendele Moicher Sforim, Scholem Alejchem and Perez hung in the local library (Fig. 1).[2] He made a second attempt to escape with the intention of studying art in Krakow, but failed because of his lack of money and education. When he returned home again, his relationship with his parents improved. In 1920, when he was due to be drafted into the Polish army during the Polish-Soviet war, he sold everything he owned to finance his journey to Będzin[3] on the border with Upper Silesia in Prussia and then his escape to Germany.

It is not known how exactly Kirszenbaum finally arrived in the Ruhr region. Like more than half a million Ruhr Poles who had emigrated there since the foundation of the German Reich, he earnt his money as a mine worker and from 1920 lived as a tenant in Duisburg, as evidenced by a postcard to his family[4]. He gave Hebrew lessons on the side, but must also have been working as an artist. The art historian August Hoff (1892-1971), who later became the director of the Duisburg Museum of Art/Duisburg Kunstmuseum, became aware of Kirszenbaum, urged him to study art and apparently found him a place at the State Bauhaus/Staatliche Bauhaus in Weimar. Kirszenbaum began his studies there in 1923 in the preliminary course given by Johannes Itten and, during the following three semesters, also attended courses given by Wassily Kandinsky and Paul Klee. He later wrote that Kandinsky and his clarity of thought had had the greatest influence on him. In particular, Kandinsky moved him from a formalistic style of painting to figurative painting, in contrast to his own artistic interests.[5] He is said to have maintained a collegial connection to Klee. Klee influenced him with his “inner world” and the diversity and endlessness of his dream images.[6] When political pressure meant that the Bauhaus was closed down at the turn of 1924/25 and moved to Dessau, Kandinsky is said to have earmarked him for a lecturing post at the new site, which ultimately failed to transpire following opposition from the Director, Walter Gropius.[7]

 

[1] Jechezkiel Kirszenbaum: Childhood and Youth in Staszów, in: J.D. Kirszenbaum 2013 (see Literature), page 129

[2] ibid., page 155

[3] ibid., page 167 f.

[4] J.D. Kirszenbaum 2013 (see Literature), page 49

[5] ibid., page 48

[6] ibid., page 49

[7] Linsler 2013 (see Literature), page 293. Linsler refers to an essay by Ernst Collin: J.D. Kirschenbaum, in: Exhibition Catalogue from Galerie Fritz Weber, Berlin 1931 [Bauhaus Archive, Inv. No. 2239], to an essay by Frédéric Hagen: J.D. Kirszenbaum = Exhibition Catalogue from Galerie Karl Flinker, Paris 1961, and to the article by Hanna Bartnicka-Górska: Jecheskiel Dawid Kirszenbaum, in: Słownik Artystów Polskich i obcych w polsce działających. Malarze rzeżbiarze graficy, 3, Polska Akademia Nauk, Instytut Sztuki, Warsaw 1979, page 412. Ernst Collin (1886-1942 murdered in Auschwitz) was a bookbinder, author, art editor and antiquarian from Berlin, see https://www.stolpersteine-berlin.de/de/biografie/6661. See below for more on Frédéric (Friedrich) Hagen.