Modus: Prace z historii sztuki (20.2020)

of Jews by the majority society The scene shows two unknown torturers going
against one victim. Wachtel alludes to many cases of pogroms committed against
the Jewish community over the centuries. The title of the lithograph, Yellow patch
(which is reflected in the mans clothes), is supposed to refer to many obliga-
tory markings that Jews were forced to wear - such as pointed caps or sewn-on
patches.105 The artist shows the instance of stigmatization of the minority liv-
ing in the diaspora, and the physical manifestations of this stigmatization, thus
influencing the stereotypical treatment of the Jewish community, and weakening
its position in societies.
A dispute106
Another illustrated event in Jewish history shown in the portfolio is the scene
of a dispute between a Jew sitting on the left and a monk on the right (see: Fig. n).
Wachtel, who is showing only two figures, two books (from the typographic
arrangement and context it can be concluded that they are the Talmud and
the Bibie), and the table, created a symmetrical and compact composition.
A Torah connoisseur, sitting calmly, is dressed in a skullcap and a traditional
robę. He follows the text of the book with his right hand, and supports his
chin with the other. He directs his gazę towards the monk, who is shown morę
dynamically, by the gesture of his left hand raised. The lines on his face and
the facial expressions of the friar create an atmosphere of tension and seem to
reflect his nervousness.
Wilhelm Wachtel once again depicted multiple theological disputes in which
Jews defended their faith against the accusations of the Catholic Church, espe-
cially in the early modern period - and he did so symbolically, through one single
scene. These events were of public character, however, it seems that the artist
wanted to mark their presence in the history of the Jews, whereas through the in-
timacy of the scene, he wished to emphasize the difference between the respec-
tive groups. The presented contrast in the mood of the characters represents
the relations between religions, where the Jews were a calm and prudent party,
presenting arguments arising from the books, and therefore perceived as weaker,
and the Church was represented by violent, charismatic people, often using
the arguments of force.


11. Wilhelm Wachtel,
A dispute, ca. 1935, Mu-
seum of the Borderlands
in Lubaczów, inventory no.
ml/1061a/9. Photo after:
<https://tinyurl.com/
n879x7re>
a see p. 257

12. Wilhelm Wachtel,
The Homeless, ca. 1935,
Museum of the Borderlands
in Lubaczów, inventory no.
ml/106ia/10. Photo after:
<https://tinyurl.com/
n879x7re>
a see p. 257

The Homeless107
The artist again takes up the subject of persecution in the lithograph titled The
Homeless, depicting a family of six sitting in an undefined space (see: Fig. 12). The
focal point, shifted to the left of the axis, is a young woman who is facing the view-
er, giving the impression that she is looking straight at us. She is supporting her

105 In the inter-war period, there were publications dealing with the stigmatization of the Jewish
community with the yellow patches sewn onto the clothes; see: Żółta Łata (sprawa ograniczeń
prawnych). Część pierwsza, Warszawa 1922 (= Materiały w sprawie żydowskiej w Polsce, 5,
I. Griinbaum [ed.]).

106 W. Wachtel, A dispute, ca. 1935, lithograph, 59.5 x 43.5 cm, mkl, inventory no. ML/1061A/9,
<http://judaika.polin.pl/dmuseion/docmetadata?id=6564&show_nav=true> (accessed on
25.04.2020).

107 W. Wachtel, The Homeless, ca. 1935, lithograph, 59.5 x 43.5 cm, mkl, inventory no. ml/io6ia/io,
<http://judaika.polin.pl/dmuseion/docmetadata?id=6564&show_nav=true> (accessed on
25.04.2020).

Wilhelm Wachtel’s Forewell to Golus

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