This essay explores the Pietas by Jacob Steinhardt, an Eastern-European Jewish artist, in connection with his involvement in the Pathetiker movement. The paper proceeds to examine them against the backdrop of German and Austrian Expressionist movements, as well as other treatments of the theme by Jewish artists. Through stylistic and iconographic analysis of Steinhardt’s Pietas, Czekanowska-Gutman demonstrates that both of the works in question are in fact revisions of one of the most important Christian iconographic “framing themes,” which Steinhardt situates within the Jewish context and perspective. The central argument of the paper is that Steinhardt’s Pietas address Christian audiences in their own representational conventions in order to denounce anti-Jewish violence, such as the pogroms of the time. The artist achieves this through the portrayal of Jesus and Mary as elderly Eastern European Jews (Ostjuden), using—remarkably—the visual language of anti-Jewish caricature. Finally, the paper investigates Steinhardt’s masterful use of drypoint and woodcutting techniques to visualise the suffering of Mary and her dying son.

中文翻译：

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雅各布·斯坦哈特早期作品中的圣母怜子图

本文探讨了东欧犹太艺术家雅各布·斯坦哈特 (Jacob Steinhardt) 的圣母怜子图 (Pietas)，以及他参与了 Pathetiker 运动。该论文继续在德国和奥地利表现主义运动的背景下对它们进行研究，以及犹太艺术家对主题的其他处理。通过对斯坦哈特的圣母怜子图的风格和图像分析，切卡诺夫斯卡-古特曼表明，这两部作品实际上都是对最重要的基督教图像“框架主题”之一的修订，斯坦哈特将其置于犹太语境和视角中。该论文的中心论点是，斯坦哈特的圣母怜子图以他们自己的代表性惯例向基督徒听众发表讲话，以谴责反犹太暴力，例如当时的大屠杀。艺术家通过将耶稣和玛丽描绘成年长的东欧犹太人 (Ostjuden) 来实现这一目标，并使用了——特别是——反犹太漫画的视觉语言。最后，本文调查了斯坦哈特 (Steinhardt) 对干点和木刻技术的巧妙运用，以形象化玛丽和她垂死的儿子的痛苦。