Else Lasker-Schüler’s Orientalism was embedded in a contemporary fascination with the Orient in general, and Ancient Egyptian art in particular, while the endurance, constant evolution, and originality of Lasker-Schüler’s work made her Orientalism unique within this general trend. It allowed her to transgress ostensible borders between East and West, between male and female figures, and to narrate a mytho-biography that can be traced throughout her art, prose, poetry, and personal correspondence.
The drawing was completed in Jerusalem in 1942 although Else Lasker-Schüler began working on it in the mid 1930s. Symbolically, it refers to the decisive year 1933.
The manuscript of the poem »My People« shows Lasker-Schülers early approach to the situation of Jews in Germany during this period. This version differs from the published version, which is part of the published collection »Hebrew Ballads« (1913). The copy displayed here was dedicated to Lucie von Goldschmidt-Rothschild.
»The Land of the Hebrews« (1937), a fanstastical piece of travel literature, was inspired by Else Lasker-Schüler's visit to Palestine in 1934. The handwritten comments on this galley proof reflect the poet's great concern with accuracy and idiosyncratic spelling.
The drawing was completed around 1920 in the context of the poet's epistolary novel »Der Malik«, in which Else Lasker-Schüler writes herself and her surroundings into the story of Prince Jussuf.
The hand-colored and signed lithograph forms part of the volume »Thebes: Poems and Lithographs« (1923). Copy no. 88, which is shown here, bears a handwritten dedication to the actor and later theater manager Kurt Horwitz.
The letter forms part of Else Lasker-Schüler's correspondence with the poet Karl Wolfskehl, whom she referred to as »Ramsenith«. The exchange overlaps with the much more intensive friendship between Lasker-Schüler and Franz Marc 1912–1916.
The silk manufacturer and president of the Swiss Israelite Welfare Union, Silvain Guggenheim, supported Else Lasker-Schüler during her stay in Switzerland and temporarily secured her residence permit. The postcard refers to this help: »Thanks! Truly thanks!«
The poem »Homesickness« forms part of Else Lasker-Schüler's poetry volume »My Miracles« (1911). In October 1912, the poet sent this autograph copy to Paul Zech, who had written a review of »My Miracles«for the journal »Saturn« a few months earlier.
»Jussuf the wild Jew.« This postcard is part of the poet's artistic exchange with the painter Franz Marc. Lasker-Schüler's postscript refers to woodcuts by Gabriele Münter published in »Der Sturm«.
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