Rammelaars en rinkelbellen. De collectie van Heinz Keijser, 2021
Rammelaars komen in alle perioden en over de hele wereld voor, variërend van eenvoudig kinderspee... more Rammelaars komen in alle perioden en over de hele wereld voor, variërend van eenvoudig kinderspeelgoed van gebakken klei tot kleine kunstwerkjes van de hoogste edelsmeedkunst. Heinz Keijser (1911-1988) bezat een van de grootste particuliere verzamelingen op dit gebied. Rammelaars en rinkelbellen beschrijft de zestig mooiste en meest bijzondere exemplaren uitvoerig.
Het fraai vormgegeven boek begint met het bewogen leven van Heinz Keijser zelf: Jood, marxist, vluchteling, onderduiker, theaterman, vriend van bekende kunstenaars en verzamelaar. In een tiental essays van bekende specialisten komen vervolgens de kunst- en cultuurhistorische ontwikkelingen en de veelzijdige (zelfs magische) aspecten van de rammelaar aan bod. Zij leiden de lezer langs vierduizend jaar rammelaars, kinderportretten met rammelaars, en hun relatie met pedagogische en sociale ontwikkelingen.
In past centuries the romantic myth has arisen that Rembrandt had a special bond with Jews. In hi... more In past centuries the romantic myth has arisen that Rembrandt had a special bond with Jews. In his paintings and etchings people sometimes even saw traces of Jewish mysticism (Kabbalah). Those living in Rembrandt's immediate environment, Amsterdam's Jewish neighbourhood, were said to be his inspirational source for many drawings and portraits. But is this image of a 'Jewish' Rembrandt accurate? Now it has been established that only a few works are about Jews or have Jewish themes. Even his famous painting 'The Jewish Bride' is the subject of debate: was it really a Jewish couple? "The Jewish Rembrandt" unravels this myth using many examples that have played a major role in promoting this.The imposing Moses and the Tablets of the Law and the portrait Ephraim Bueno are discussed for instance. The background to Rembrandt's enigmatic etchings in the book Piedra Gloriosa is also explored and new light is shed on his supposed friendship with Spinoza and Menasse ben Israel. Other issues addressed concern the origins of the Hebrew writings on sokme of his paintings, whether he used a Jewish model he came across in the synagogue for his Christ, and why Rembrandt is always identified with Judaism.
Just as Kabbalah appears as a multicolored patchwork in the spiritual life of the twentieth and t... more Just as Kabbalah appears as a multicolored patchwork in the spiritual life of the twentieth and twenty-first century, Kabbalah has impacted on art. Kabbalistic elements are found in different movements and styles, both in abstract works and figurative interpretations. Motivated by a new interest in spirituality which emerged in the mid-nineteenth century, artists delved into philosophies which did not shy away from mysticism and the Occult. Kabbalah was also part of this revival of interest, although often aspects of Kabbalah which had merged with elements of Christian Kabbalah, the Occult and alchemy. In effect, quite different forms of Kabbalah may inspire modern and contemporary artists, depending on their identity, knowledge and religious or spiritual awareness. Moreover, most artists are not attempting to explain or illustrate (aspects of) the Kabbalah in their work, rather it is aspects of the Kabbalah that inspire their process of concept formation and the creation of art.
Published in: Domagoj Akrap, Klaus Davidowicz, Mirjam Knotter (ed.) Kabbalah, Kerber Verlag: Bielefeld, p. 32-58
Mirjam Knotter and Eloy Koldeweij, ‘The Esnoga and the Snogeiros: the Interior and Function of th... more Mirjam Knotter and Eloy Koldeweij, ‘The Esnoga and the Snogeiros: the Interior and Function of the Synagogue and its Annexes’, in: Vlaardingerbroek e.a. (ed.), The Portuguese Synagoge in Amsterdam, WBOOKS, Zwolle, 2013, p. 134-155
Treasures of ceremonial art and their ritual use from the collection of the Portguguese Synagogue... more Treasures of ceremonial art and their ritual use from the collection of the Portguguese Synagogue in Amsterdam
Ronald Brooks Kitaj (1932-2007) was a self-taught intellectual, an inquisitive bibliophile and a ... more Ronald Brooks Kitaj (1932-2007) was a self-taught intellectual, an inquisitive bibliophile and a passionate book collector with a great interest in European history and art history. Kitajá colourful and occasionally provocative compositions are full of political, philosophical, literary and art-historical references. His works depict a world dominated by displacement as a Jew and as an American, living and working in post-war Europe, weeking for means to express his identity in his art. The publication offers an insight into Kitaj's bibliophile and engaged Jewish sensibility with a focus on his screen-printed reproductions of book covers, In Our Time, published in 1969-1970 as a playfull project in which he demonstrated the pleasure he derived, both as an artist and a book collector, from certain editions: the title, the content, the jacket or the memories and associations they evoked for him.
Un certain nombre des oeuvres de Rembrandt comporte des caracteres hebraiques, comme la Fete de B... more Un certain nombre des oeuvres de Rembrandt comporte des caracteres hebraiques, comme la Fete de Belshazzar (1635). Cette etude montre que cet usage fait partie d'une tradition iconographique plus vaste. Toutefois, a l'oppose de la plupart de ses collegues du XVIIe siecle, il ne s'est pas limite a employer des lettres qui ressemblaient a l'hebreu, mais appartenait a un petit groupe d'artistes qui donnaient a leurs peintures une dimension supplementaire en y incorporant des caracteres authentiquement hebraiques. Il s'en est servi de maniere creative et originale pour offrir une plus grande tension a ce qu'il representait et pour mettre en relief le role joue par tel ou tel personnage biblique.
This article is part of the Brill journal Images, no.13, an issue on "Kabbalah and Art," of which... more This article is part of the Brill journal Images, no.13, an issue on "Kabbalah and Art," of which Batsheva Goldman-Ida is guest editor. After a lifelong career as a central figure in the London art scene, the American-Jewish artist R. B. Kitaj (1932–2007) left England in 1997 for Los Angeles to be “in exile,” as he named it, following a series of tragic events that he believed had caused the sudden death of his beloved wife and muse, artist Sandra Fisher (1947–1994). In Los Angeles, he continued the mission he had assigned himself long before: to create a meaningful, new Jewish art. For Kitaj, Jewish art was a “Diasporist” art—that is, a modernist, universal art whose core lies in the experience of the artist living and working in multiple societies simultaneously, and a response to being Heimatlos (“homeless”). He formulated his thoughts in two manifestos (1988/1989 and 2007), which were followed in 2017 by his posthumously published autobiography, Confessions of an Old Jewish Painter. Around 2003, Kitaj’s perception of Sandra Fisher attained a more mystical level: in addition to angelic qualities, he began to assign divine qualities to her as the personification of the Shekhina, the feminine aspect of God, to whom he could cleave as a mystic through his art while painting his Los Angeles series. In his final years, his personal devotion focused entirely on his reunion with Sandra. In this, mystical ideas about the Shekhina offered Kitaj a vehicle for his thought and art as well as a means of transition from earthly existence to death.
The illuminated Hebrew characters in Belshazzar's Feast by Rembrandt Harmensz. van Rijn (1606-166... more The illuminated Hebrew characters in Belshazzar's Feast by Rembrandt Harmensz. van Rijn (1606-1669) have fascinated art historians, Hebraists and other viewers of this overwhelming history piece for years. And for good reason. Both the prominent position of the inscription and the encrypted representation of the divine symbols on the wall make Belshazzar a remarkable example of the use of Hebrew inscriptions in seventeenth-century Northern Netherlandish painting. Belshazzars Feast (c. 1635) is not the only work in which Rembrandt employed Hebrew inscriptions. A number of his works contain Hebrew characters. Despite the many publications focusing on the fact that Rembrandt lived in Amsterdam's Jewish quarter and his possible links with members of Amsterdam's Jewish community, this cannot have been the exclusive reason for Rembrandt's use of Hebrew characters. In employing these in his biblical scenes, Rembrandt was certainly no exception. In fact, Northern Netherlandish painters of the seventeenth century used Hebrew characters on a relatively wide scale in biblical history paintings.
Trasparenze n. 7, 2021 : numero monografico dedicato a Charlotte Salomon, 2021
Many have praised Charlotte Salomon’s artistic legacy Leben? oder heater? (Life? or Theatre?) for... more Many have praised Charlotte Salomon’s artistic legacy Leben? oder heater? (Life? or Theatre?) for its tremendous eloquence. The unique power of this puzzling artwork lies in the combination of storytelling and the exceptional form Salomon found for it. In both, inspired by her memories of voice-coach Alfred Wolfsohns's ideas and encouraging words that she was 'able', she found her own path as a woman and a talented artist. With the few means she had, Charlotte Salomon created in paint her exceptional multimedia work of art, fusing visual art with music, ànd cinema. The latter is much more than a formal source of inspiration to recreate her life in art. Indeed, by viewing LoT in relation to films that were shown in cinemas during Salomon’s youth in Berlin, it becomes clear that film formed part of her experiential world and her extraordinary visual memory while she created this unique work of art.
Rammelaars en rinkelbellen. De collectie van Heinz Keijser, 2021
Rammelaars komen in alle perioden en over de hele wereld voor, variërend van eenvoudig kinderspee... more Rammelaars komen in alle perioden en over de hele wereld voor, variërend van eenvoudig kinderspeelgoed van gebakken klei tot kleine kunstwerkjes van de hoogste edelsmeedkunst. Heinz Keijser (1911-1988) bezat een van de grootste particuliere verzamelingen op dit gebied. Rammelaars en rinkelbellen beschrijft de zestig mooiste en meest bijzondere exemplaren uitvoerig.
Het fraai vormgegeven boek begint met het bewogen leven van Heinz Keijser zelf: Jood, marxist, vluchteling, onderduiker, theaterman, vriend van bekende kunstenaars en verzamelaar. In een tiental essays van bekende specialisten komen vervolgens de kunst- en cultuurhistorische ontwikkelingen en de veelzijdige (zelfs magische) aspecten van de rammelaar aan bod. Zij leiden de lezer langs vierduizend jaar rammelaars, kinderportretten met rammelaars, en hun relatie met pedagogische en sociale ontwikkelingen.
In past centuries the romantic myth has arisen that Rembrandt had a special bond with Jews. In hi... more In past centuries the romantic myth has arisen that Rembrandt had a special bond with Jews. In his paintings and etchings people sometimes even saw traces of Jewish mysticism (Kabbalah). Those living in Rembrandt's immediate environment, Amsterdam's Jewish neighbourhood, were said to be his inspirational source for many drawings and portraits. But is this image of a 'Jewish' Rembrandt accurate? Now it has been established that only a few works are about Jews or have Jewish themes. Even his famous painting 'The Jewish Bride' is the subject of debate: was it really a Jewish couple? "The Jewish Rembrandt" unravels this myth using many examples that have played a major role in promoting this.The imposing Moses and the Tablets of the Law and the portrait Ephraim Bueno are discussed for instance. The background to Rembrandt's enigmatic etchings in the book Piedra Gloriosa is also explored and new light is shed on his supposed friendship with Spinoza and Menasse ben Israel. Other issues addressed concern the origins of the Hebrew writings on sokme of his paintings, whether he used a Jewish model he came across in the synagogue for his Christ, and why Rembrandt is always identified with Judaism.
Just as Kabbalah appears as a multicolored patchwork in the spiritual life of the twentieth and t... more Just as Kabbalah appears as a multicolored patchwork in the spiritual life of the twentieth and twenty-first century, Kabbalah has impacted on art. Kabbalistic elements are found in different movements and styles, both in abstract works and figurative interpretations. Motivated by a new interest in spirituality which emerged in the mid-nineteenth century, artists delved into philosophies which did not shy away from mysticism and the Occult. Kabbalah was also part of this revival of interest, although often aspects of Kabbalah which had merged with elements of Christian Kabbalah, the Occult and alchemy. In effect, quite different forms of Kabbalah may inspire modern and contemporary artists, depending on their identity, knowledge and religious or spiritual awareness. Moreover, most artists are not attempting to explain or illustrate (aspects of) the Kabbalah in their work, rather it is aspects of the Kabbalah that inspire their process of concept formation and the creation of art.
Published in: Domagoj Akrap, Klaus Davidowicz, Mirjam Knotter (ed.) Kabbalah, Kerber Verlag: Bielefeld, p. 32-58
Mirjam Knotter and Eloy Koldeweij, ‘The Esnoga and the Snogeiros: the Interior and Function of th... more Mirjam Knotter and Eloy Koldeweij, ‘The Esnoga and the Snogeiros: the Interior and Function of the Synagogue and its Annexes’, in: Vlaardingerbroek e.a. (ed.), The Portuguese Synagoge in Amsterdam, WBOOKS, Zwolle, 2013, p. 134-155
Treasures of ceremonial art and their ritual use from the collection of the Portguguese Synagogue... more Treasures of ceremonial art and their ritual use from the collection of the Portguguese Synagogue in Amsterdam
Ronald Brooks Kitaj (1932-2007) was a self-taught intellectual, an inquisitive bibliophile and a ... more Ronald Brooks Kitaj (1932-2007) was a self-taught intellectual, an inquisitive bibliophile and a passionate book collector with a great interest in European history and art history. Kitajá colourful and occasionally provocative compositions are full of political, philosophical, literary and art-historical references. His works depict a world dominated by displacement as a Jew and as an American, living and working in post-war Europe, weeking for means to express his identity in his art. The publication offers an insight into Kitaj's bibliophile and engaged Jewish sensibility with a focus on his screen-printed reproductions of book covers, In Our Time, published in 1969-1970 as a playfull project in which he demonstrated the pleasure he derived, both as an artist and a book collector, from certain editions: the title, the content, the jacket or the memories and associations they evoked for him.
Un certain nombre des oeuvres de Rembrandt comporte des caracteres hebraiques, comme la Fete de B... more Un certain nombre des oeuvres de Rembrandt comporte des caracteres hebraiques, comme la Fete de Belshazzar (1635). Cette etude montre que cet usage fait partie d'une tradition iconographique plus vaste. Toutefois, a l'oppose de la plupart de ses collegues du XVIIe siecle, il ne s'est pas limite a employer des lettres qui ressemblaient a l'hebreu, mais appartenait a un petit groupe d'artistes qui donnaient a leurs peintures une dimension supplementaire en y incorporant des caracteres authentiquement hebraiques. Il s'en est servi de maniere creative et originale pour offrir une plus grande tension a ce qu'il representait et pour mettre en relief le role joue par tel ou tel personnage biblique.
This article is part of the Brill journal Images, no.13, an issue on "Kabbalah and Art," of which... more This article is part of the Brill journal Images, no.13, an issue on "Kabbalah and Art," of which Batsheva Goldman-Ida is guest editor. After a lifelong career as a central figure in the London art scene, the American-Jewish artist R. B. Kitaj (1932–2007) left England in 1997 for Los Angeles to be “in exile,” as he named it, following a series of tragic events that he believed had caused the sudden death of his beloved wife and muse, artist Sandra Fisher (1947–1994). In Los Angeles, he continued the mission he had assigned himself long before: to create a meaningful, new Jewish art. For Kitaj, Jewish art was a “Diasporist” art—that is, a modernist, universal art whose core lies in the experience of the artist living and working in multiple societies simultaneously, and a response to being Heimatlos (“homeless”). He formulated his thoughts in two manifestos (1988/1989 and 2007), which were followed in 2017 by his posthumously published autobiography, Confessions of an Old Jewish Painter. Around 2003, Kitaj’s perception of Sandra Fisher attained a more mystical level: in addition to angelic qualities, he began to assign divine qualities to her as the personification of the Shekhina, the feminine aspect of God, to whom he could cleave as a mystic through his art while painting his Los Angeles series. In his final years, his personal devotion focused entirely on his reunion with Sandra. In this, mystical ideas about the Shekhina offered Kitaj a vehicle for his thought and art as well as a means of transition from earthly existence to death.
The illuminated Hebrew characters in Belshazzar's Feast by Rembrandt Harmensz. van Rijn (1606-166... more The illuminated Hebrew characters in Belshazzar's Feast by Rembrandt Harmensz. van Rijn (1606-1669) have fascinated art historians, Hebraists and other viewers of this overwhelming history piece for years. And for good reason. Both the prominent position of the inscription and the encrypted representation of the divine symbols on the wall make Belshazzar a remarkable example of the use of Hebrew inscriptions in seventeenth-century Northern Netherlandish painting. Belshazzars Feast (c. 1635) is not the only work in which Rembrandt employed Hebrew inscriptions. A number of his works contain Hebrew characters. Despite the many publications focusing on the fact that Rembrandt lived in Amsterdam's Jewish quarter and his possible links with members of Amsterdam's Jewish community, this cannot have been the exclusive reason for Rembrandt's use of Hebrew characters. In employing these in his biblical scenes, Rembrandt was certainly no exception. In fact, Northern Netherlandish painters of the seventeenth century used Hebrew characters on a relatively wide scale in biblical history paintings.
Trasparenze n. 7, 2021 : numero monografico dedicato a Charlotte Salomon, 2021
Many have praised Charlotte Salomon’s artistic legacy Leben? oder heater? (Life? or Theatre?) for... more Many have praised Charlotte Salomon’s artistic legacy Leben? oder heater? (Life? or Theatre?) for its tremendous eloquence. The unique power of this puzzling artwork lies in the combination of storytelling and the exceptional form Salomon found for it. In both, inspired by her memories of voice-coach Alfred Wolfsohns's ideas and encouraging words that she was 'able', she found her own path as a woman and a talented artist. With the few means she had, Charlotte Salomon created in paint her exceptional multimedia work of art, fusing visual art with music, ànd cinema. The latter is much more than a formal source of inspiration to recreate her life in art. Indeed, by viewing LoT in relation to films that were shown in cinemas during Salomon’s youth in Berlin, it becomes clear that film formed part of her experiential world and her extraordinary visual memory while she created this unique work of art.
Uploads
Books by Mirjam Knotter
Het fraai vormgegeven boek begint met het bewogen leven van Heinz Keijser zelf: Jood, marxist, vluchteling, onderduiker, theaterman, vriend van bekende kunstenaars en verzamelaar. In een tiental essays van bekende specialisten komen vervolgens de kunst- en cultuurhistorische ontwikkelingen en de veelzijdige (zelfs magische) aspecten van de rammelaar aan bod. Zij leiden de lezer langs vierduizend jaar rammelaars, kinderportretten met rammelaars, en hun relatie met pedagogische en sociale ontwikkelingen.
Motivated by a new interest in spirituality which emerged in the mid-nineteenth century, artists delved into philosophies which did not shy away from mysticism and the Occult. Kabbalah was also part of this revival of interest, although often aspects of Kabbalah which had merged with elements of Christian Kabbalah, the Occult and alchemy. In effect, quite different forms of Kabbalah may inspire modern and contemporary artists, depending on their identity, knowledge and religious or spiritual awareness. Moreover, most artists are not attempting to explain or illustrate (aspects of) the Kabbalah in their work, rather it is aspects of the Kabbalah that inspire their process of concept formation and the creation of art.
Published in: Domagoj Akrap, Klaus Davidowicz, Mirjam Knotter (ed.) Kabbalah, Kerber Verlag: Bielefeld, p. 32-58
Papers by Mirjam Knotter
After a lifelong career as a central figure in the London art
scene, the American-Jewish artist R. B. Kitaj (1932–2007) left
England in 1997 for Los Angeles to be “in exile,” as he named it,
following a series of tragic events that he believed had caused
the sudden death of his beloved wife and muse, artist Sandra
Fisher (1947–1994). In Los Angeles, he continued the mission he
had assigned himself long before: to create a meaningful, new
Jewish art. For Kitaj, Jewish art was a “Diasporist” art—that
is, a modernist, universal art whose core lies in the experience
of the artist living and working in multiple societies simultaneously,
and a response to being Heimatlos (“homeless”). He
formulated his thoughts in two manifestos (1988/1989 and
2007), which were followed in 2017 by his posthumously published
autobiography, Confessions of an Old Jewish Painter.
Around 2003, Kitaj’s perception of Sandra Fisher attained a
more mystical level: in addition to angelic qualities, he began
to assign divine qualities to her as the personification of the
Shekhina, the feminine aspect of God, to whom he could cleave
as a mystic through his art while painting his Los Angeles
series. In his final years, his personal devotion focused entirely
on his reunion with Sandra. In this, mystical ideas about the
Shekhina offered Kitaj a vehicle for his thought and art as
well as a means of transition from earthly existence to death.
Belshazzars Feast (c. 1635) is not the only work in which Rembrandt employed Hebrew inscriptions. A number of his works contain Hebrew characters. Despite the many publications focusing on the fact that Rembrandt lived in Amsterdam's Jewish quarter and his possible links with members of Amsterdam's Jewish community, this cannot have been the exclusive reason for Rembrandt's use of Hebrew characters.
In employing these in his biblical scenes, Rembrandt was certainly no exception. In fact, Northern Netherlandish painters of the seventeenth century used Hebrew characters on a relatively wide scale in biblical history paintings.
memories of voice-coach Alfred Wolfsohns's ideas and encouraging words that she was 'able', she found her own path as a woman and a talented artist.
With the few means she had, Charlotte Salomon created in paint her
exceptional multimedia work of art, fusing visual art with music, ànd cinema. The latter is much more than a formal source of inspiration to recreate her life in art. Indeed, by viewing LoT in relation to films that were shown in cinemas during Salomon’s youth in Berlin, it becomes clear that film formed part of her experiential world and her extraordinary visual memory while she created this unique work of art.
Het fraai vormgegeven boek begint met het bewogen leven van Heinz Keijser zelf: Jood, marxist, vluchteling, onderduiker, theaterman, vriend van bekende kunstenaars en verzamelaar. In een tiental essays van bekende specialisten komen vervolgens de kunst- en cultuurhistorische ontwikkelingen en de veelzijdige (zelfs magische) aspecten van de rammelaar aan bod. Zij leiden de lezer langs vierduizend jaar rammelaars, kinderportretten met rammelaars, en hun relatie met pedagogische en sociale ontwikkelingen.
Motivated by a new interest in spirituality which emerged in the mid-nineteenth century, artists delved into philosophies which did not shy away from mysticism and the Occult. Kabbalah was also part of this revival of interest, although often aspects of Kabbalah which had merged with elements of Christian Kabbalah, the Occult and alchemy. In effect, quite different forms of Kabbalah may inspire modern and contemporary artists, depending on their identity, knowledge and religious or spiritual awareness. Moreover, most artists are not attempting to explain or illustrate (aspects of) the Kabbalah in their work, rather it is aspects of the Kabbalah that inspire their process of concept formation and the creation of art.
Published in: Domagoj Akrap, Klaus Davidowicz, Mirjam Knotter (ed.) Kabbalah, Kerber Verlag: Bielefeld, p. 32-58
After a lifelong career as a central figure in the London art
scene, the American-Jewish artist R. B. Kitaj (1932–2007) left
England in 1997 for Los Angeles to be “in exile,” as he named it,
following a series of tragic events that he believed had caused
the sudden death of his beloved wife and muse, artist Sandra
Fisher (1947–1994). In Los Angeles, he continued the mission he
had assigned himself long before: to create a meaningful, new
Jewish art. For Kitaj, Jewish art was a “Diasporist” art—that
is, a modernist, universal art whose core lies in the experience
of the artist living and working in multiple societies simultaneously,
and a response to being Heimatlos (“homeless”). He
formulated his thoughts in two manifestos (1988/1989 and
2007), which were followed in 2017 by his posthumously published
autobiography, Confessions of an Old Jewish Painter.
Around 2003, Kitaj’s perception of Sandra Fisher attained a
more mystical level: in addition to angelic qualities, he began
to assign divine qualities to her as the personification of the
Shekhina, the feminine aspect of God, to whom he could cleave
as a mystic through his art while painting his Los Angeles
series. In his final years, his personal devotion focused entirely
on his reunion with Sandra. In this, mystical ideas about the
Shekhina offered Kitaj a vehicle for his thought and art as
well as a means of transition from earthly existence to death.
Belshazzars Feast (c. 1635) is not the only work in which Rembrandt employed Hebrew inscriptions. A number of his works contain Hebrew characters. Despite the many publications focusing on the fact that Rembrandt lived in Amsterdam's Jewish quarter and his possible links with members of Amsterdam's Jewish community, this cannot have been the exclusive reason for Rembrandt's use of Hebrew characters.
In employing these in his biblical scenes, Rembrandt was certainly no exception. In fact, Northern Netherlandish painters of the seventeenth century used Hebrew characters on a relatively wide scale in biblical history paintings.
memories of voice-coach Alfred Wolfsohns's ideas and encouraging words that she was 'able', she found her own path as a woman and a talented artist.
With the few means she had, Charlotte Salomon created in paint her
exceptional multimedia work of art, fusing visual art with music, ànd cinema. The latter is much more than a formal source of inspiration to recreate her life in art. Indeed, by viewing LoT in relation to films that were shown in cinemas during Salomon’s youth in Berlin, it becomes clear that film formed part of her experiential world and her extraordinary visual memory while she created this unique work of art.