DOI article:
Puzio, Maksymilian: Wilhelma Wachtla "Pożegnanie z Golusem"
Citation link:https://digi.ub.uni-heidelberg.de/diglit/modus2020/0279
of Ezekiel, they symbolise bitter and stinging words,93 and in the Talmud they are
described as one of the greatest threats, worse than snakes, because they attack
their victims multiple times.94
The content presented in the lithograph seems to symbolize the “bound”, weak,
perhaps resigned, and therefore calm and subdued Jews living in the diaspora,
surrounded by hostile communities depicted as scorpions circling around them,
repeatedly attacking the despised minority. Thus, Wachtel started the cycle with
a diagnosis of his own “Golus” vision of the community living in constant threat
of attack, defenceless, and carrying the burden of their own sins.
Self-portrait95
The second piąte shows the artisfs self-portrait in the form of a bust with a face
en trois quarts, with two marks: “WW” on the left, and the authors signature
on the right (see: Fig. 4). The depicted maturę man with a receding hairline
and a moustache is wearing a shirt and a jacket. The image has painterly featu-
res and depth. Rapidly drawn lines rendering the face, and darker spots reflec-
ting the play of light and shadow, are evidence of the artisfs skilful command
of the graphic technique. The slightly raised left eyebrow of the painter, and
the arrangement of the lines on his face indicate reflexive, thoughtful mood.
The artisfs inclusion of his own self-portrait in the cycle can be read as an
expression or commemoration of belonging to the represented world, signalling
a sentimental view of the presented content.
Passer-by96
The third lithograph in the series shows a figurę standing in front of the window
of a wooden building, in whose interior we can see a woman leaning over two can-
dles (see: Fig. 5). The entire composition is closed from the top with a segmental
arch. To the right of the picture’ axis there is a silhouette of a young man wrapped
in darkness, wearing a frock coat and holding a hat and a cane behind his back.
The fashionable attire and accessories suggest that the young man has abandoned
the family tradition and assimilated into modern, secular culture. Standing in
front of the window, he observes a woman performing one of the mitzvot (com-
mandments of Jewish religious law) - that is, lighting the Shabbat candles. The
Jewish woman, dressed in a modest outfit, with a headscarf, buries her face in
her hands, leaning towards two single candlesticks, which is one of the gestures
of the blessing of the fire.97
The scene is maintained in dark shades of grey, which reflects the evening
time of the ritual (20 minutes before dusk). The painterly character is reflected in
the play of chiaroscuro on the wali of the building and in its interior. It intensifies
4. Wilhelm Wachtel,
Self-portrait, ca. 1935,
Museum of the Borderlands
in Lubaczów, inventory no.
ml/1061a/2. Photo after:
<https://tinyurl.com/
n879x7re>
a see p. 251
5. Wilhelm Wachtel, Passer-
-by, ca. 1935, Museum of the
Borderlands in Lubaczów,
inventory no. ml/1061a/3.
Photo after: <https://
tinyurl.com/n879x7re>
a see p. 252
93 Ezek 2,6.
94 J. Jacobs, I. Casanowicz, Scorpio, in: Jewish Encyclopedia, vol. 11, New York 1906, p. 122.
95 W. Wachtel, Self-portrait, ca. 1935, lithograph, 59.5 x 43.5 cm, mkl, inventory no. ml/io6ia/2,
<http://judaika.polin.pl/dmuseion/docmetadata?id=6564&show_nav=true> (accessed on
25.04.2020).
96 W. Wachtel, Passer-by, ca. 1935, lithograph, 59.5 x 43.5 cm, mkl, inventory no. ML/1061A/3,
<http://judaika.polin.pl/dmuseion/docmetadata?id=6564&show_nav=true> (accessed on
25.04.2020).
97 While making this gesture, the woman recites the words: “Blessed are You, Hashem, our God,
who sanctified us with your commandments and commanded us to light Shabbat candles.”
Wilhelm Wachtel’s Farewell to Golus
279
described as one of the greatest threats, worse than snakes, because they attack
their victims multiple times.94
The content presented in the lithograph seems to symbolize the “bound”, weak,
perhaps resigned, and therefore calm and subdued Jews living in the diaspora,
surrounded by hostile communities depicted as scorpions circling around them,
repeatedly attacking the despised minority. Thus, Wachtel started the cycle with
a diagnosis of his own “Golus” vision of the community living in constant threat
of attack, defenceless, and carrying the burden of their own sins.
Self-portrait95
The second piąte shows the artisfs self-portrait in the form of a bust with a face
en trois quarts, with two marks: “WW” on the left, and the authors signature
on the right (see: Fig. 4). The depicted maturę man with a receding hairline
and a moustache is wearing a shirt and a jacket. The image has painterly featu-
res and depth. Rapidly drawn lines rendering the face, and darker spots reflec-
ting the play of light and shadow, are evidence of the artisfs skilful command
of the graphic technique. The slightly raised left eyebrow of the painter, and
the arrangement of the lines on his face indicate reflexive, thoughtful mood.
The artisfs inclusion of his own self-portrait in the cycle can be read as an
expression or commemoration of belonging to the represented world, signalling
a sentimental view of the presented content.
Passer-by96
The third lithograph in the series shows a figurę standing in front of the window
of a wooden building, in whose interior we can see a woman leaning over two can-
dles (see: Fig. 5). The entire composition is closed from the top with a segmental
arch. To the right of the picture’ axis there is a silhouette of a young man wrapped
in darkness, wearing a frock coat and holding a hat and a cane behind his back.
The fashionable attire and accessories suggest that the young man has abandoned
the family tradition and assimilated into modern, secular culture. Standing in
front of the window, he observes a woman performing one of the mitzvot (com-
mandments of Jewish religious law) - that is, lighting the Shabbat candles. The
Jewish woman, dressed in a modest outfit, with a headscarf, buries her face in
her hands, leaning towards two single candlesticks, which is one of the gestures
of the blessing of the fire.97
The scene is maintained in dark shades of grey, which reflects the evening
time of the ritual (20 minutes before dusk). The painterly character is reflected in
the play of chiaroscuro on the wali of the building and in its interior. It intensifies
4. Wilhelm Wachtel,
Self-portrait, ca. 1935,
Museum of the Borderlands
in Lubaczów, inventory no.
ml/1061a/2. Photo after:
<https://tinyurl.com/
n879x7re>
a see p. 251
5. Wilhelm Wachtel, Passer-
-by, ca. 1935, Museum of the
Borderlands in Lubaczów,
inventory no. ml/1061a/3.
Photo after: <https://
tinyurl.com/n879x7re>
a see p. 252
93 Ezek 2,6.
94 J. Jacobs, I. Casanowicz, Scorpio, in: Jewish Encyclopedia, vol. 11, New York 1906, p. 122.
95 W. Wachtel, Self-portrait, ca. 1935, lithograph, 59.5 x 43.5 cm, mkl, inventory no. ml/io6ia/2,
<http://judaika.polin.pl/dmuseion/docmetadata?id=6564&show_nav=true> (accessed on
25.04.2020).
96 W. Wachtel, Passer-by, ca. 1935, lithograph, 59.5 x 43.5 cm, mkl, inventory no. ML/1061A/3,
<http://judaika.polin.pl/dmuseion/docmetadata?id=6564&show_nav=true> (accessed on
25.04.2020).
97 While making this gesture, the woman recites the words: “Blessed are You, Hashem, our God,
who sanctified us with your commandments and commanded us to light Shabbat candles.”
Wilhelm Wachtel’s Farewell to Golus
279