Moritz Daniel Oppenheim, The Return
of the Jewish Volunteer from the Wars of Liberation to His Family Still
Living
in Accordance with Old Customs, 1833-34. The Jewish
Museum, New York.
Jews fought in the armies of
the various German states during the Napoleonic Wars. Ironically,
Napoleon had brought emancipation to the Jews of Germany, which was
rolled back
after his defeat. Oppenheim's family scene shows the return of
a Jewish volunteer who presumably has been wounded. He is caressed by
his
sister,
while the father, dressed in a caftan representing the old ways,
peers down at the Iron Cross which has been awarded to the volunteer.
Thus,
there is a juxtaposition of the idea of Judaism and its opposite,
the Christian symbol. The father's left hand is on a copy of the Talmud,
distinct because of the arrangement of the text (Biblical text
in center,
commentary surrounding). The scene is set at the onset of the Sabbath,
indicated by the late sun coming through the window, the wine and
challah bread on the table. The mother looks complacently at the son's
return,
holding a cup of tea. Two younger children at the table look with
awe and mystery at their brother's return. To the right, a third child
is about to pull a sword from the scabbard, suggesting the dilemma
of
Jewish
life—to remain as tolerated, second class, unequal citizens, or
to seek equality within European life, citizenship and all of its consequences.
The painting can also be viewed as an artistic protest against
the repeal
of equal rights for the Jews.
The cat emerging from under the table may be the symbol of subdued anger
of the mother materializing about her son's abandonment of tradition.
The German artist, Albrecht Dürer, used this symbol in the same
way in his engraving
Adam
and Eve.
—Dr. Stephen Feinstein, Director
Center for Holocaust and Genocide Studies
University of Minnesota
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