Women in Dark Times (44 page)

 
176
    Ibid.

 
177
    Luxemburg, ‘Women’s Suffrage and Class Struggle’,
Reader
, p. 241.

2. Painting Against Terror: Charlotte Salomon

 
    
1
    Luxemburg, ‘After the Pogrom’, cited in Castle, ‘ “You alone will make our family’s name famous” ’, p. 119.

 
    
2
    Luxemburg, ‘Life of Korolenko’, p. 360.

 
    
3
    Luxemburg to Hans Diefenbach, 27 March 1917,
Letters
, pp. 383–4.

 
    
4
    Charlotte Salomon,
Leben? oder Theater?
(
Life? or Theatre?
– hereafter
LT
), p. 764; JHM, 4877.

 
    
5
    Luxemburg to Hans Diefenbach, 27 March 1917,
Letters
, p. 384.

 
    
6
    Salomon,
LT
, p. 46; JHM, 4155–6.

 
    
7
    Salomon, JHM, 4931–2.

 
    
8
    Salomon,
LT
, p. 476; JHM, 4595r (recto).

 
    
9
    Interview with Paula Salomon-Lindberg, 1984, cited in Felstiner,
To Paint Her Life
, p. 112.

 
  
10
    Salomon,
JHM,
4990.

 
  
11
    Salomon, JHM, 4931–2.

 
  
12
    Thomas Mann, ‘Germany and the Germans’, address delivered to the Coolidge Auditorium, Library of Congress, 29 May 1945,
Thomas Mann’s Addresses Delivered at the Library of Congress
,
New German–American Studies/Neue Deutsch–Amerikanische Studien
,
Vol. 25, 2003 (Maryland: Wildside Press, 2008), p. 65.

 
  
13
    Thomas Mann,
The Genesis of a Novel
, trans. Richard and Clara Winston
(London: Secker & Warburg, 1961), p. 89.

 
  
14
    Salomon,
LT
, p. 43; JHM, 4155–3. See also p. 386: ‘And the expression of the expression is the three-coloured line that is built up very slowly and with much deliberation.’ JHM, 4505.

 
  
15
    In the English version, the translation of ‘
dreifarben
’ as ‘tri-coloured’ ­problematically suggests a link to the French flag.
Life? or Theatre?
,
p. 43.

 
  
16
    Felstiner,
To Paint Her Life
, p. 144.

 
  
17
    Ibid.

 
  
18
    Salomon,
LT
, p. 43; JHM, 4155–2.

 
  
19
    Marthe Pécher to Garry Schwarz, 27 September 1981, cited in Felstiner,
To Paint Her Life
, p. 142.

 
  
20
    Bach cantata BWV 508, Salomon
LT
, p. 138; JHM, 4249, Bach cantata BWV 53, Salomon,
LT
, p. 127, JHM, 4238.

 
  
21
    Bernard Wasserstein,
On the Eve: The Jews of Europe Before the Second World War
(New York: Simon and Schuster, 2012), p. 310.

 
  
22
    Ibid., p. 297.

 
  
23
    Theodor W. Adorno, ‘Fantasia sopra Carmen’ (1955),
Quasi una Fantasia: Essays on Modern Music
, 1963, trans. Rodney Livingstone (London: Verso, 1998), p. 62.

 
  
24
    Ibid., p. 55.

 
  
25
    Thomas Mann,
Doctor Faustus: The Life of the German Composer Adrian Leverkühn as Told by a Friend
, trans. John E. Woods (New York: Vintage, 1999), p. 82.

 
  
26
    Ibid., p. 385.

 
  
27
    Cited in Felstiner,
To Paint Her Life
, p. 219.

 
  
28
    Mann,
Doctor Faustus
, p. 325.

 
  
29
    Salomon,
LT
, p. 192; JHM, 4304.

 
  
30
    Salomon,
LT
, p. 224; JHM, 4336.

 
  
31
    Felstiner,
To Paint Her Life
, p. 39.

 
  
32
    Marthe Pécher, interview with Bert Haanstra, 20 September, 1985, cited in Felstiner,
To Paint Her Life
, p. 155.

 
  
33
    Arendt, ‘On Humanity in Dark Times’, p. 25.

 
  
34
    Salomon,
LT
, p. 722; JHM, 4835.

 
  
35
    T. J. Clark, ‘Grey Panic’,
London Review of Books
, 33:22, 17 November, 2011.

 
  
36
    Salomon,
LT
, p. 822; JHM, 4924v (verso).

 
  
37
    Marion Milner,
On Not Being Able to Paint
, 1950 (London: Heinemann, 1957), pp. 141–2.

 
  
38
    Anna Freud, ‘Foreword’ to Milner,
On Not Being Able to Paint
, p. xiii.

 
  
39
    Milner,
On Not Being Able to Paint
, p. 143.

 
  
40
    Ibid., p. 21.

 
  
41
    Ibid, pp. 143–4.

 
  
42
    Arendt,
The Origins of Totalitarianism
, p. 54.

 
  
43
    Milner,
On Not Being Able to Paint
, p. 143.

 
  
44
    Ibid., p. 12.

 
  
45
    Ibid.

 
  
46
    Ibid.

 
  
47
    Anna Freud, ‘Foreword’ to Milner,
On Not Being Able to Paint,
p. xv.

 
  
48
    Salomon, JHM, 4931–1.

 
  
49
    Milner,
On Not Being Able to Paint
, p. 11.

 
  
50
    Marion Milner,
The Suppressed Sadness of Sane Men
(London: Tavistock, New Library of Psychoanalysis, 1987); see also
On Not Being Able to Paint
, p. 28.

 
  
51
    Salomon,
LT
, p. 791, JHM, 4903.

 
  
52
    Salomon,
LT
, p. 794, JHM, 4906.

 
  
53
    Salomon,
LT
, pp. 794–5; JHM, 4906–7.

 
  
54
    Griselda Pollock, ‘Theater of Memory – Trauma and Cure in Charlotte Salomon’s Modernist Fairytale’, in Steinberg and Bohm-Duchen (eds),
Reading Charlotte Salomon
, p. 59.

 
  
55
    Salomon,
LT
, p. 733; JHM, 4846.

 
  
56
    Salomon,
LT
, p. 676; JHM, 4790.

 
  
57
    Salomon,
LT
, p. 817; JHM, 4922r (recto).

 
  
58
    Felstiner,
To Paint Her Life
, p. 66.

 
  
59
    Ibid. See also
Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937
, edited by Olaf Peters, exhibition held at Neue Galerie, New York, 2014 (Munich: Prestel, 2014). For the affinity with Salomon, see in particular works by Emil Nolde, Christian Rohlfs, Ernst Ludwig Kirchner.

 
  
60
    Salomon,
LT
, p. 235; JHM, 4353.

 
  
61
    Daniel Barenboim and Edward Said,
Parallels and Paradoxes: Explorations in Music and Society
(New York: Pantheon, 2002), p. 84.

 
  
62
    Milner,
On Not Being Able to Paint
,
p. 72.

 
  
63
    Ibid., p. 15.

 
  
64
    Mann,
Doctor Faustus
, p. 21.

 
  
65
    Milner,
On Not Being Able to Paint
, p. 18.

 
  
66
    Johann Wolfgang von Goethe,
Theory of Colours
, trans. Charles Locke Eastlake (New York: Dover, 2006). Preface to the first edition of 1810, p. xvii. ‘Deeds and suffering of light’ is the generally accepted formulation which Eastlake renders here as ‘its [light’s] active and passive modifications’.

 
  
67
    Milner,
On Not Being Able to Paint,
p. 23.

 
  
68
    Ibid., p. 24.

 
  
69
    Felstiner,
To Paint Her Life
, pp. 44, 55.

 
  
70
    Salomon,
LT
, p. 821; JHM, 4924r (recto). See also
LT
, p. 757; JHM, 4870.

 
  
71
    Monica Bohm-Duchen, in Steinberg and Bohm-Duchen,
Reading Charlotte Salomon
, p. 33.

 
  
72
    Salomon,
LT
, p. 286; JHM, 4404.

 
  
73
    Alfred Wolfsohn, ‘Orpheo oder das Weg zu einer Maske’, manuscript in collection of Marita Günther, Malérargues, France,
c
. 1937–8, in JHM collection; cited in Felstiner,
To Paint Her Life
, p. 51.

 
  
74
    Salomon, JHM, 5060, 5065.

 
  
75
    Felstiner,
To Paint Her Life
, pp. 51–2.

 
  
76
    Luxemburg, ‘Life of Korolenko’, p. 360.

 
  
77
    Alfred Wolfsohn, ‘Die Brücke’ (‘The Bridge’), unpublished ms, cited in Felstiner,
To Paint Her Life
, p. 60.

 
  
78
    Salomon,
LT
, p. 73; JHM, 4182, p. 72; JHM, 4181.

 
  
79
    Milner,
On Not Being Able to Paint
, p. 25.

 
  
80
    Mann,
Doctor Faustus
, pp. 384, 261.

 
  
81
    Ibid., p. 384.

 
  
82
    Ibid., pp. 384–5.

 
  
83
    Salomon,
LT
, p. 56; JHM, 4165.

 
  
84
    Salomon,
LT
, p. 690; JHM, 4804.

 
  
85
    Salomon,
LT
, pp. 815–16; JHM, 4922 (recto and verso).

 
  
86
    The missing letter was first published by Julia Watson, ‘Charlotte Salomon’s Memory Work in the “Postscript” to
Life? or Theatre?
’ (introduction and translation),
Signs
, Special issue on gender and memory, 28:1, Autumn 2002. It has since been the subject of a film by Frans Weisz on the work of Salomon,
Leven? Of Theater?
, released in 2012. In the film a number of Salomon scholars are filmed reacting to the information as a confession on Salomon’s part. For the complexities of this issue, see Griselda Pollock, final chapter,
The Nameless Artist in the Theatre of Memory: The Confession of Charlotte Salomon’s
Leben? oder Theater?
1941–1942
(New Haven: Yale, 2014). I much appreciate Griselda Pollock alerting me to this controversy.