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Muchow: It’s all about the film – not the music

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All exhibitions currently available for loan abroad have caption labels and accompanying texts, and some have catalogues in Czech and English. The terms governing the loan of exhibits and other materials are set out here. The borrower must pay for the exhibition insurance, the shipping of exhibits by a specialist firm, the installation of the show, the costs for the Jewish Museum curator to travel and stay in the venue city. The borrower will also be responsible for maintaining the condition of the exhibits and will be required to comply with the relevant terms concerning the display and return of the exhibits. A separate loan agreement will be prepared for each loan, specifying the selection of exhibits and the general loan terms. This exhibition features copies of all of the almost photographs from the Auschwitz Album, a unique document from that depicts the systematic liquidation of Europe's Jews. The Auschwitz Album is a unique set of photographs that documents the Auschwitz-Birkenau death camp in the spring of Apart from an album that shows the camp being built in — and three photographs that were taken secretly by inmates, there is no other authentic pictorial document that captures life in Auschwitz. Historians rightly consider the Auschwitz Album to be one of the most important testimonies on the fate of the millions who were murdered. According to some sources, the photographs were taken on a single day; according to others, over a period of several weeks. Many of the trains came from Berehove, Mukachevo and Uzhhorod in Carpathian Ruthenia, a former part of Czechoslovakia that was ceded to Hungary in November , just as the Sudetenland had been ceded to Germany under the Munich Agreement. The rest of Carpathian Ruthenia was annexed by Hungary on 18 March , three days after the occupation of Bohemia and Moravia by the German army. As is evident from the recorded testimonies of survivors, many of the deportees in the photographs spoke Yiddish at home. Nonetheless, they considered themselves to be Czechoslovakians. Unlike the previous deportation trains, the Hungarian transports arriving at Auschwitz went directly into the Birkenau camp — on a newly built track that was completed in May The railway track was extended in order to speed up the selection process, so that the prisoners could be quickly divided into those capable of work and those to be exterminated immediately, and to make the sorting of their belongings more effective. Most of those deemed fit to work were soon taken to forced labour camps in the German Reich, so that they could be used by the German military industry, which was at risk of air raids. The others — mostly the elderly and women with children — were immediately sent to the gas chambers upon arrival. More than a quarter of a million Jews from the former Czechoslovakia were murdered by the Nazis. The exhibition also describes how the album was created, how it was found by the Auschwitz survivor Lili Jacob and what happened to it after the war. A major role in its post-war fate was played by the Czech capital city and the Jewish Museum in Prague, where in copies were made of the photographs in the album. The original album was donated to Yad Vashem in Thanks to the Jewish Museum, other copies of the photographs were sent to several other European museums during the s and s. The exhibition also presents new findings — previously unpublished — about the album and about Lily Jacob. Above all, it draws attention to the fact that although the album is usually talked about in connection with the transports of Hungarian Jews, the photographs actually depict citizens of pre-war Czechoslovakia. Lili Jacob herself — who found the album in the Mittelbau-Dora concentration camp after the liberation —was a Czechoslovak citizen, spoke Czech fluently and lived in what was then Czechoslovakia for three years after the war. The money that Lily Jacob received in from the then State Jewish Museum — for allowing it to make copies of images from the album — enabled her to move with her husband and first-born daughter to the United States in , where they began a new life. The Auschwitz Album also played an important role as supporting evidence in war crime trials in Germany and Israel. If a boy, then there was very little time to arrange for a mohel, who performs the ritual circumcision. To protect the woman from prematurely giving birth, any number of amulets might be worn, and incantations or various forms of magic practice were also employed. In the room where the woman lay, a printed or paper-cut amulet — usually containing Psalm and the names of her guardian angels — was either hung or pasted directly above the woman or on the screen separating her from the others. Several particular rituals are performed shortly after the birth of a child. A boy is circumcised, during which he receives his name. A girl receives her name in the synagogue on the first Sabbath after birth when her father is called to the Torah, and the name chosen for the girl is then ceremoniously announced to the congregation. The first week of life of a newborn child is considered to be the time of greatest risk, and therefore the circumcision itself is preceded by special rituals. One is the Shalom Zakhar, which takes place on the evening of the first Sabbath after the birth of a boy it is the first and only Sabbath eve in his life when he is not protected by the covenant. Family and friends gather at the home of the mother and newborn to celebrate with a festive meal, give their blessings, and welcome the newborn into the world. In Judaism, the circumcision is an important ritual of initiation that entails removing the foreskin of the penis. The circumcision is never performed on a child from a family with a history of blood-coagulation disorders, such as hemophilia. Among Orthodox Jews a quorum of no fewer than ten men must be present. Women may look on from their section of the synagogue. Left of the Ark is the circumcision chair or bench. One of the two seats is reserved for the prophet Elijah, whom God has appointed witness to the consummation of this especial covenant, the other is for the sandek, who is usually one of the highly esteemed members of the community, such as the rabbi. The kvatters carry in the baby boy who is usually swaddled in a special cloth and are greeted by the congregation saying barukh haba Blessed Is He Who Comes. The boy is then given to the mohel, a professionally trained circumciser, who places the infant on a special pillow on the seat for Elijah. The boy on the pillow is then placed in the lap of the sandek. It took either the square form of the original swaddling, which was then made into a cover for the bimah the reading table , or it was cut into strips that were sewn together into one long band to be used to bind the Torah scroll. Both types were embroidered, painted, or printed with a long Hebrew inscription, which identified the boy usually naming his father as well and giving the date of his birth. The oldest come from the latter half of the 17th century while the most recent come from right before the Second World War. Torah binders and covers from circumcision swaddling are a unique form of historical document whereby their embroidery records the births of hundreds of Jewish children. The boy ceremoniously dedicated his circumcision object during his first visit to the synagogue. This customarily took place at the age of three or four when the boy could act relatively independently and was able to learn simple texts. The father accompanied the boy to dedicate the binder, cover, or other object to the Torah scroll as proof of his covenant with God. The ritual is called in Yiddish mappe schuletragen bringing the binder to the synagogue. Another opportunity appropriate for donating a circumcision object to the synagogue was at the first haircut Hebr. This ritual symbolizes the cutting of the child from the mother, a rite of passage from infancy. In the Jewish milieu, the scroll was retained as the standard book form for a long time after the codex — the bound book invented by the Romans — became widespread. The Torah scroll sefer Torah is a strip of parchment that is prepared from the skin of a kosher animal. Considered to be holy, both the text and the scroll itself have a unique position within Judaism. In order to be suitable for reading in the synagogue, the Torah scroll must be written in Hebrew square script with permanent ink by a professional scribe sofer. The scroll may have no textual errors and the letters must be legible. Certain errors and imperfections may be corrected by the scribe, but if there is extensive damage the parchment must be kept out of use. In time, the interior arrangement of the synagogue was adapted to conform with the public reading of the Torah scroll during the worship service; notably, the Holy Ark aron ha-kodesh — a cabinet for the scrolls — and a reading desk were installed. Between the columns of the Ark is a lockable space for storing the Torah scrolls, along with all its appurtenances. The doors of the Ark are covered from the outside by a parokhet — a curtain that separates the holiest place of the Ark from the rest of the synagogue. In order to fulfil the requirement that the entire congregation should hear as clearly as possible the text that is read from the Torah scroll, the parchment with all its adornments is ceremoniously carried to the raised platform in the centre. The reading desk is oriented towards the east and is covered with a special textile whose purpose is to protect the unrolled scroll from damage. The relevant portion of the Torah is read as part of the synagogue liturgy during services on Mondays and Thursdays, during the morning and afternoon services on the Shabbat and during the morning services on holidays. This is a complex ceremony governed by regulations and ritual customs, which requires the presence of a minyan , a group of ten adult males. The actual reading is performed by a baal kriya , a specialist who is well-versed in recitation cantillation. After the reading of the weekly portion, the scroll is once again ceremoniously given its adornments. A binder is wrapped around the scroll to prevent it from unrolling. This is a narrow band of fabric, several metres in length. Across the entire length of the binder, there is usually a characterisitc dedicatory inscription, which states the name of the child, the date and sometimes place of birth and the names of the parents, and includes the standard benediction: May the Lord grant him to raise him to the Torah, to the wedding canopy and to good deeds. After the parchment has been secured by the binder, the scroll is covered with a textile — the Torah mantle. The scroll is then decorated with silver ornaments. The Torah shield and the Torah pointer yad hang on a chain at the front of the scroll. The pointer is a rod that is often decorated and always shaped at the end like a hand with an outstretched index finger; it is used to indicate the text of the Torah that is to be read. On ceremonial occasions, the scroll is adorned with a silver crown, instead of finials. The adorned scroll is then ceremonially carried back to the Holy Ark. Considering how expensive it was to make, the Torah scroll was certainly not an item that a congregation would voluntarily or gladly have given away to a museum collection. Indeed, the number of Torah scrolls owned by a particular community reflected its economic and social standing. In the collections of pre-war Jewish museums, the Torah scroll appeared more frequently in the form of a miniature souvenir. The situation regarding the occurrence of Torah scrolls in the collections of the Jewish Museum in Prague drastically changed in May The impetus for founding this museum came from Prague Jewish community employees who sought to protect the properties of those who had been deported to concentration camps. They used the pre-war Prague Jewish museum collection as a starting point for the initiative. Read more about the museum's history: www. A number of Jewish congregations were re-established in Bohemia, Moravia and Slovakia after the war; these were provided with the necessary liturgical items, including Torah scrolls, by the Jewish Museum in Prague. The post-war years and, in particular, the subsequent period under the Communist regime, however, brought rapid change, as a result of which many of the revived congregations were again disbanded. Many of the liturgical items that had been loaned were subsequently returned to Jewish Museum in Prague. It was moved out of its headquarters and allotted several other buildings, most of which required renovation and repairs. A synagogue in the Prague district of Michle, which the State Jewish Museum acquired in the autumn of , was chosen as a site for the storage of its collection of scrolls. This Antique-style library-cum-repository was to have been definitively completed at the beginning of the s, but events took another turn. Abroad, there was considerable interest in the Jewish Museum in Prague and its collections. Soon after the Second World War, the museum was contacted by people wishing to buy items from its collection. At the beginning of the s, however, the Czechoslovak Communist regime undertook several initial attempts to sell liturgical items from Jewish Museum to interested parties abroad. Torah scrolls became vulnerable items. Most of them had no unique marks or features and the Jewish Museum had a large number that could not be exhibited. The entire set was sold for a pre-arranged price, which was paid not by the person who mediated the transaction — the art dealer Eric Estorick — but by an anonymous philanthropist. In January , after the agreed-upon amount had been paid, the Torah scrolls in Prague were wrapped and shipped to London. As part of the agreement between the Czechoslovak state and the new owner, the Torah scrolls were not allowed to become commercial items. The shipment of this immense amount of important Jewish ritual items attracted great attention in London. The scrolls found refuge at Kent House, the headquarters of the recently established Jewish congregation at Westminster, of which the above mentioned philanthropist — the London lawyer and businessman Ralph Yablon — was a member. The scrolls were stored there while it was being decided how best to make use of them. Two possible options were considered: the scrolls that were in good condition or were repairable could be loaned for liturgical uses while those that were not repairable could be provided for commemorative purposes. In , and for the next almost 40 years, the core of all activities relating to the care, and later distribution, of the Torah scrolls was overseen by Ruth Shaffer. The distribution of Torah scrolls entailed a number of difficulties, even though clearly defined rules had been laid down: the items were to be provided on permanent loan, not to private individuals but to congregations that were in need of them. Requests were dealt with on an individual basis and were often turned down for various reasons — as, for example, when it was suspected that the interested party had commercial designs on a Torah scroll. The vast majority of usable Torah scrolls from Bohemia and Moravia have now been distributed to Jewish congregations, Shoah memorials, museums and libraries across the world. The rest of the scrolls are part of a collection in a small museum at Kent House which commemorates the fate of the scrolls and the history of the Jews of Bohemia and Moravia. The scrolls that the Czech Memorial Scrolls Trust has loaned to congregations are being looked after with great care. These congregations realise the value of the memory of every individual scroll and are developing a number of projects that promote knowledge of the life of the Jewish community in Bohemia and Moravia. Representatives of these congregations often contact the Jewish Museum in Prague. Such interest has led to the publication of books on the fate of Czech Jewish communities, educational programmes and exhibitions. The Jewish Museum in Prague is glad to become involved in all such projects and appreciates all who wish to find out about the original owners of the Torah scrolls. For these congregations are building a bridge between the past, present and future and are helping to preserve a historical memory of events that must never be forgotten. Adolf Kohn was born on 10 March , a year after the Jews in the Habsburg Empire had been granted full equality. He stemmed from a respected Prague family; his father, Bernard, served as cantor at the Pinkas Synagogue and his elder brother, Emil Klement, was a celebrated professor of medicine at Prague University. This is where Kohn spent his childhood and youth, exploring all the alleyways, yards and hidden corners of the Prague ghetto. Kohn then worked as an organist for many years, mainly in the Maisel Synagogue where he also served as choirmaster. He also played the organ in other synagogues and churches in Prague. It was at this time that he witnessed the beginning of the reconstruction of the Prague ghetto, as well as the protests that were held by public figures from the world of Czech culture against the destruction of its cultural and historic sites. The changes that were brought about by the rapid modernization of the city at the turn of the 20th century created widespread public interest in Old Prague. The Brown brothers organized protests against the planned reconstruction of Josefov and the Club for Old Prague was established soon later. It was around this time that Kohn, without any particular technical experience, set about painting his small pictures of the streets, houses and squares of the Jewish Town in an attempt to preserve their form and, in so doing, to prevent them from falling into oblivion. Apparently, he went round houses, shops and restaurants peddling his pictures for any price he could get. He hardly ever dated his works, but he often jotted down the name of the street or house on the back. As some of his pictures depict horse-drawn trams and gas lamps, it is clear that the earliest works were made before These paintings appear to have been executed with more skill and care than his later works. He continued in his artistic endeavours and, with the help of old photographs and postcards, produced hundreds of paintings of the Prague ghetto. The most valuable ones, of course, are those that depict places which are no longer to be found anywhere else and which were made during the course of the reconstruction of the ghetto. Details of houses — windows, shop-signs, pantile roofs, dormers — goods unloaded in front of shops and street pavements were all meticulously presented in clear compositions and light pastel colours. The unmistakable atmosphere of the Jewish Town is captured in pictures of shady areas in deserted streets with narrow strips of blue sky hovering above the roofs and reflected in the top windows of houses. The unusual lighting and piercing shadows on the facades of houses in empty streets create a feeling of unsettling timelessness and nostalgia. Whenever figures appear in his street scenes, they are caught in a motionless and unnatural state, which is perhaps why they all convey the impression of loneliness. Kohn focused almost exclusively on motifs from the Prague ghetto, creating many variations on the most prominent images — the Old-New Synagogue and the Old Jewish Cemetery. His subjects often complement and follow on from each other; when seen together from various angles and perspectives, they form a panorama of picturesque nooks and corners. His paintings, which were almost exclusively dedicated to the former Prague ghetto still appear from time to time in antique shops in Prague. In March he celebrated his eightieth birthday with his family and a commemorative article about his work was published in the Prague Jewish Community Bulletin. He died in Prague on 3 April at the age of Guttmann came to Prague in , attending the Bergmann Business School. Having developed a fine baritone voice he wanted to become a cantor. As a keen athlete he also dreamt of being in the Olympics. For several years he attended a private art school run by the landscape painter Alois Kirnig. I was 17 years old at the time and the march took 14 and a half weeks. By he had visited most of the Zionist congresses in various cities of Europe. As a result of the personal animosity and antipathy I came across in Zionist circles I began to focus more intensively on painting. His opinions, photographs, caricatures and reproductions were occasionally featured in a number of Prague newspapers. In summer he would set out on long hikes to Zionist Congresses abroad or would travel throughout the country on foot. He often visited spa towns where he would sketch the guests or sell his own caricatures. But he preferred to visit Zionist organizations in Slovakia and traditional Jewish communities in Subcarpathian Ruthenia. According to Dr. Arthur Heller, a Prague psychiatrist, they share similar traits to the works of schizophrenics, children, primitive people and certain Expressionists. They afford an insight into a secluded, sensitive soul which was drawn to nature, to the integrity of childhood and to a profound faith. As an artist, he refused to be a mere reproducer of reality and defended his right to his own creative self-expression. His last paintings were based on these memories, all in vivid bright colours; apart from a few earlier pictures, these are the only ones to have survived. On 16 October Guttmann was put on the first transport that left Prague for the Lodz ghetto. Ghetto life must have been incomprehensible and unbearable for such a globetrotter who had criss-crossed half of Europe on foot. He became completely apathetic and silent. He just stared into space with a hopeless, faraway look in his eyes, clutching his folder in his arms. He died at Lodz on 12 March Biography of Robert Guttmann. After the end of the war Vavro Oravec left for Prague where he studied stomatology at Charles University. In he began to work as a dentist in a health centre in Prague. In his free time he tried his hand at painting, attending a course of drawing lessons under Jan Bauch. He later sought out the advice of friends from the May 57 group of painters R. Fremund, R. Piesen, J. Balcar, Z. Sekal and others. He first exhibited his work together with a group of doctor painters in in the E. Burian Theatre. It was at this time that he began to paint in a more systematic way. Three one-man shows in , and came about as a result of his own artistic development and personal outlook. He painted slowly, patiently, with great focus and intensity. He never acquired the technical assuredness and skill of a professional painter, a shortcoming he turned to his advantage. He was forced to explore and discover everything for himself, to contemplate with a sense of humility and an awareness of life. His work does not reveal any marked development or dramatic change; it is as if he keeps returning to a narrow yet focused range of themes, while using new means to discover qualities that until now have been hidden. For a long time, his work was almost exclusively centred around portraits. These are imaginary portraits, based on a deep sense of affinity. The sorrowful faces of children and young girls reflect his war-time experiences. After the occupation of Czechoslovakia in August he emigrated to Bern, Switzerland. In exile new themes emerged in his paintings recalling the terrifying experience from Auschwitz and the death marches. He created portraits of his ancestors, relatives and friends, as well as stylised self-portraits that seem to depict mental states rather than outward appearances. From the very beginning, however, his portraits of his kindred spirit Franz Kafka were predominant. His work is created in privacy, in an enclosed space, in isolation and concentration, as the result of an ever deepening experience and awareness. His paintings take form slowly, emerging in silence from oblivion, revealing hidden faces and objects that seemed to be lost. Colours are layered in a similar way to human experience, memories and dreams. His paintings radiate an indefinable magic sensibility, evocative of dreams and a silent immersion into a world either long since past or existing somewhere on the other side of our consciousness. They focus on simple things and incorporate childhood memories, moments of despair and happiness forever fixed. They are a reflection of his soul and his life. Through his art he seeks a pathway to himself, to forgotten events, people and objects, to their hidden meanings and significance which are hopelessly eluding the rest of us in the hustle and bustle of life. Biographical details:. Many faces in photographs were identified only on the basis of collating information from the database, documents and the reminiscences of donors. In the course of this search, donors heard, often for the first time, about certain lesser-known concentration camps, ghettos and extermination centres in eastern Poland, the Baltic States and Belarus. Valuable sources for illustrating the everyday life of Jewish inmates also include diaries, scrapbooks, poems and personal narratives. There is also a completely separate group of memorial objects. All these documents are being stored in the Holocaust department where they will be available for researchers and historians and, gradually, will also be used in the course of other visits. The exhibition curators have tried to create a cross-section that will present as well as possible the variety of the material and, at the same time, recall the life stories of people who, until the onset of persecution, lived ordinary family lives, enjoyed friendships, love and pleasure, but also had everyday worries, studied, worked, and had good times in general… Without reason, their fates were severed and, in many cases, their children were not allowed to reach adulthood. Our respect and warm thanks go to all those who have not forgotten and who do not want to forget about their murdered Jewish relatives, friends and neighbours and who deserve praise for gathering together these valuable documents. Touring exhibitions containing original objects All exhibitions currently available for loan abroad have caption labels and accompanying texts, and some have catalogues in Czech and English. The Auschwitz Album This exhibition features copies of all of the almost photographs from the Auschwitz Album, a unique document from that depicts the systematic liquidation of Europe's Jews. Mazal tov — Good luck This exhibition focuses on the course and attributes of the traditional wedding ceremony of Ashkenazi Jews. The photographs, garments, rings, contracts and many other items on display provide an overall picture of one of the most important events in the life cycle of every individual and show how the wedding has been celebrated by the Jewish community in the past and present. EUR 1 million Although the Jewish community has been an integral part of Czech society for many centuries, the family ceremonies of this cultural and religious minority have not yet met with an appropriate level of interest and attention from the wider society. The tragic events of the Second World War and the genocide of the Bohemian and Moravian Jewish population not only ended the centuries-long presence of the Jews in many areas of the Czech lands, but also severed family and local bonds. This permanently affected the form of local lifecycle ceremonies and also impeded their study and interpretation. In Judaism, the wedding and marriage are closely linked to religious law. The union between a man and a woman is possible only between Jews Jewish identity is passed on via the mother , or between a Jew and a convert to Judaism, known as a proselyte. The wedding is a precisely specified legal act, based on deep-rooted biblical and Talmudic traditions. Its precepts are independent of the rules and laws of the wider society, although its form has been influenced by many legal restrictions, particularly in the eighteenth and nineteenth centuries. Since biblical times, the form of the Jewish religious wedding has undergone only small changes. Marital union is a social contract between a man and a woman for the purpose of living together and having children. Judaism allows for divorce under certain conditions and for centuries has retained the tradition of the levirate marriage. The Jewish wedding ceremony has always consisted of two basic portions — betrothal Heb. Kiddushin or Erusin and the wedding proper Heb. Originally, there was a period of up to one year between the two parts, but for a long time they have been held on the same day. The actual wedding ceremony under the baldachin Heb. The latter is usually situated inside the synagogue, although weddings used to be held outside and in the evening, with the starlit sky serving as a canopy. The betrothal ceremony begins with two male witnesses, the officiant not necessarily a rabbi and a minyan quorum of ten adult males in attendance. The reading of the wedding contract separates the two portions of the ceremony. This is followed by the actual wedding, which includes seven blessings Heb. Shevah Berakhot and the drinking of a second cup of wine. At the close of the ceremony, an item is symbolically broken as a reminder of the destruction of the Temple of Jerusalem. After the couple have spent a while in privacy, it is then time for the meal and the wedding festivities, together with presents, entertainment and dancing. Also on display are unique synagogue textiles made from the cloth which covers the new-born male during the circumcision ceremony and which is then used as a binder for a Torah scroll or as a lectern cover. EUR , The birth of a child is one of the most important events for a family and community no matter what the culture or religion. Parents the world over wish for nothing more than to bring into the world a healthy child whom they will be able to properly raise in a stable and safe community. The exhibition includes a minute documentary film in Czech and English. The exhibition is available on loan either as a series of panels only or with a group of items from the collections of the Jewish Museum in Prague Torah scrolls, silver and textile objects for the protection and adornment of the Torah scrolls, etc. EUR , It would be hard to find an object that presents the Jewish culture and religion more aptly than the Torah scroll. The reading from a parchment manuscript which contains the Hebrew text of the Five Books of Moses — the Divine Teaching handed over to the people of Israel — is the central moment in the Jewish synagogue liturgy. On display are 50 paintings and 30 photographs. It documents his tireless promotion of the Jewish national movement and his walking tours in Czechoslovakia and abroad, and features examples of his work — portraits, festive compositions, paintings of Prague synagogues and paintings depicting scenes of traditional Jewish and Ruthenian life. On display are 25 paintings, 25 drawings and 20 photographs, manuscripts and archive documents. He preferred to roam around the countryside, having loved flowers and animals especially horses since his childhood. Keen to become cantor in a Synagogue. Active in sport. Participates in lectures and discussions at the Maccabi Club. Attends an academy of art run by Alois Kirnig Makes a day pilgrimage on foot to the 1st Zionist Congress in Basle, selling hand-painted postcards on the way. Visits the 3rd Zionist Congress in Basle. In the following years visits all Zionist Congresses until Devotes himself to painting as the main source of income. Involved in all events connected to the Zionist movement at home and abroad. Becomes a popular subject for Prague newspapers and magazines due to his unconventional life-style and appearance. His wedding is announced in the Prague press. Has disagreements with Prague Zionists. Devotes more time to painting. Sends a donation for the opening of the Hebrew University in Jerusalem. Vavro Oravec — A Painter of Soul This exhibition of work by the painter and physician Vavro Oravec — features 36 of his paintings from the s to the s, which Oravec donated to the Jewish Museum in Prague in Oravec only began painting as an adult. His work retains the originality of a naive view, a unique sensitivity and a distinctive style, revealing the hidden form of things and evoking an atmosphere of a long-lost world. He studied medicine in Bratislava and then worked in hospitals in Bardejov and Nitra. He never took any lessons in painting. The only art education he received was a three-month retraining course in ceramics run by J. He was arrested in Autumn and deported to Auschwitz, from where he was sent to the concentration camps Gross Rosen and Blechhammer. Biographical details: Through a series of appeals and interviews in the press and on the radio and television, the Jewish Museum in Prague asked the public to provide mementos, photographs, documents and other material that recall the lives and fate of their pre-war Jewish relatives or friends. The exhibition seeks to remind present and future generations of the people who once lived among us and who became innocent victims of one of the greatest crimes in the history of mankind. Often, very valuable material was handed over to staff at the Holocaust department. Many people donated documents to the Museum, while others enabled them to be copied. Library Archives Collections on-line. Share: Facebook Print. His family moves to Prague. Participates in the 8th Zionist Congress in The Hague. Completes an allegorical honorary diploma for President T. Lays a wreath on the grave of Charlotte G. On the occasion of the tenth anniversary of the establishment of Czechoslovakia 28 October , his first complete exhibition of artwork 40 oil paintings, water-colours and pastels is held with the support of Hugo Kalista at the Monopol Publishing House on Charles Square. Studied medicine in Bratislava and worked in hospitals in Bardejov a Nitra. Attended a ceramics course run by J.

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