Abstract
We have now examined the work of artists who chose to depict Wallenberg as the man of action, ready by physical or intellectual force to intervene and rescue those in danger. At this point we will now encounter artists who depicted Wallenberg as hero-as-victim, a man who became a victim himself, a prisoner, a person whom we mourn.
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Notes
See Bernhard Schlink, “Das Opfer des Lebens,” in Merkur 59 (679) (2005), 1021–31.
Albert Leong, Centaur: The Life and Art of Ernst Neizvestny (Lanham, MD, 2002), 12.
See, for example, the work Crucifixion of 1977–80. Egeland points out that Neizvestny uses the motif not only in a sacral meaning but also to symbolize conflicts in societies. See Erik Egeland, Ernst Neizvestny: Liv och Verk (Skinnskatteberg, 1984), 26. See also Neizvestny’s Rebirth Monument in Moscow.
Joanna E. Ziegler, Sculpture of Compassion: The Pietà and the Beguines in the southern Low Countries, c. 1300-c. 1600 (Brussels, 1992), 28.
G.B. Freed [G. Barany], “Humanitarianism vs. Totalitarianism: The Strange Case of Raoul Wallenberg,” in Papers of the Michigan Academy of Science, Arts and Letters XLVI (1961), 503–28, here 512.
See, for example, Steven A. Mansbach, Two Centuries of Hungarian Painters 1820–1970: A Catalogue of the Nicholas M. Salgo Collection (Washington, DC, 1998).
Based on interviews. See also Rosenfeld, Raoul Wallenberg, xxii; Kamm, 1987, A2; John Eisenhammer, “The search goes back to Moscow for the truth about Wallenberg,” in the Independent (October 12, 1989), 12.
The perception of the gesture as authoritative or weak depends on the point of view. The power of the gesture of the hand was the starting point for Gennadij Ajgi in the composition of the 1988 poem (written in Russian), Die Letzte Fahrt. The working title was in fact Wallenberg’s Hand. The poem elaborates on the gesture and the associations it elicits. See Gennadij Ajgi, Die Letzte Fahrt (Berlin, 1993).
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© 2009 Tanja Schult
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Schult, T. (2009). Raoul Wallenberg’s Fate. In: A Hero’s Many Faces. The Holocaust and its Contexts. Palgrave Macmillan, London. https://doi.org/10.1057/9780230236998_8
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