Françoise Fren­k­el's vital WW2 memoirs

Françoise Fren­k­el (1889-1975) was born to Jewish parents in Piotr­ków Poland, near Lodz. After an introduction saying how she became fascinated with books as a child, she continued with her studies at the Sorbonne and did an apprenticeship with an anti­qu­arian bookseller. Not surprisingly, she soon developed a profess­ional passion for literature, especially French literature.

Francoise Frenkel, Rien où poser sa tête

Published 1945

Leboncoin

Germany In 1921 Françoise set up the first French-language bookshop in Berlin, La Maison du Livre, recognising the appetite for French culture in Berlin after WW1. Her business successfully appealed to classy people: diplomats, aut­hors, artists. In the heady years of the Weimar Republic (1918-33) and after, her bookshop became a cultural centre in the city.

She worked with her Russian-born husband Simon Raich­enstein until 1933. Ident­ity papers were denied him by French auth­orities who is­s­ued him with a deportation order. He was taken to Drancy detention camp near Paris and killed in Ausch­witz in July 1942.

Frenkel’s dream job lasted until 1939 but the end was seen with the descent into Naz­ism, racial gen­o­cide and the start of WW2. Nazi officers & Hitler Youths crept over the streets, destroying Jewish-run businesses, smashing windows and burning synagog­ues. Krist­allnacht Nov 1938 was the worst.

Françoise had to escape to France, just before war broke out. Only days after her depart­ure from Germany, Nazi Germany bomb­ed Paris, causing terrible destruction. Frenkel would have stayed in Paris but she was forced to keep mov­ing. In the meantime Mar­shal Philippe Petain’s regime remained in Vichy as the nominal gov­ern­ment of France, op­erating as a client state of Nazi Germ­any from Nov 1942 on.

Françoise and many other city residents sought refuge in the loveliest parts of France - first Avignon (Sth), then Nice (S.E). Frenkel her­self was constantly moved from safe house to safe house, from refugee hotel to messy refugee hotel. Nice was overrun with ref­ug­ees who were hiding in poor living cond­itions; families were split up. Françoise understood that she surv­ived only because some stran­g­ers risked their lives to protect her. She escaped many crises with Nazi police officers rounding up Jews for concentration camps, but informants were clearly everywhere.

Just as it was looking as if most non-Jews were either brutal them­selves or uncaring about Jews, her memoir became a tap dance bet­ween acknowledging human cruelty and being in awe of human kind­ness. In fact her most valuable insights were into the behaviour of French people specifically under Occupation in Vichy France.

Deportation of Foreign Jews from Paris 

to Drancy detention camp.

Frenkel conveyed a huge debt of gratitude in her work. I would not have. My grandfather searched Eastern Europe for his sister, from the last letter he received (1942) until his 1971 death. My father-in-law searched for his brother, sister-in-law and 6 nieces/nephews after his liberation from Ukraine; all had been exterm­in­ated except one child.

Switzerland  From Dec 1942 on Françoise attempted to reach neutral Switzerland, her bids for safety being des­perate. In her book, she detailed how in 1943 she finally smug­gled herself across the border from Haute-Savoie. Eventually her memoir Rien où poser sa tête/No Place to Lay One’s Head was written on the shores of Lake Lucerne in Switzerland and published in 1945 by Geneva-based publish­ers Jeheber.

What happened in Françoise Frenkel's subsequent life? She returned to live in Nice and died there in 1975. But not even a photo of the author exists. Very limited extra informat­ion came from a list of persons who were given per­mis­sion to cros­s­ the border into Switz­erland during WW2 and who obtained a resid­ence permit there. Those documents are now in State Archives of Gen­eva.

After the 1945 publication, the memoir was largely forgotten until recently when a copy was accidentally discovered in Nice. In the preface of the book’s newest publication, French novelist/Nobel Prize winner Patrick Modiano added to the story of refugees fleeing terror the world over.

Of course Frenkel’s book reminded me of Anne Frank’s Diary of a Young Girl, the girl who survived in hiding in Amsterdam until the family was deported to death camps in Poland in 1944. Miraculously her father Otto Frank survived and miraculously he found Anne’s diary. And Catherine Taylor  added another comparison - Irène Némirovsky’s unfin­ish­ed novel Suite Française, which was miraculously discovered by her daughter, decades after Némirovsky perished at Aus­chwitz-Birkenau. Like Rien où poser sa tête, these two books works were lucky to be published. But unlike Frenkel, Anne Frank became a well known sym­bol of the Holocaust.

Division of France between German Occupied Zone and Vichy Free Zone

highlighting Paris, Drancy, Nice (N) in France and Geneva (G) in Switzerland

Frenkel’s quest for refuge in war-torn Europe reminds us all of our contemp­orary debates reg­arding refugees. Like the author back in WW2, many unlucky citizens in the modern world need to flee starv­ation, war or ethnic oppression. No country wants them today, so fleeing is still an alien­ating, unforgiving journey of necessity. The story today is as tragic today as it was when my own husband was carried over the mountains between home (Czechoslovakia) and the DP camps in Austria after the war. Worse, probably.

 

No Place To Lay one's Head

by Francoise Frenkel

translated by Stephanie Smee, 2019

Amazon

Bookshop in Berlin (alternative title) by Francoise Frenkel

Booktopia

Penguin Random House's Vintage published a translation of Frenkel’s French book, Rien où poser sa tête in 2017 as A Bookshop in Berlin. Hopefully the orig­in­al style was capt­ured in English by Australian translator Steph­an­ie Smee. For a detailed review, read Brigette Manion in Asymptote.

Meret Oppenheim serious, sexy, famous art

Meret Oppenheim, Object,1936
Museum of Modern Art, New York.

Meret Oppenheim (1913-85) was born in Berlin. Her father Dr Erich Opp­enheim, a German psychoanalyst, was conscripted into the army when WW1 started. So Meret and her mum moved to live with the maternal family in Swit­zerland where Meret greatly admired her aunt’s devotion to art and modern life­style. After the war, Dr Oppenheim opened a medical practice in the southern German town of Steinen and sent for his family. Meret began to write down her dreams, inspired by her father who regularly attended Carl Jung’s seminars in Zurich. Throug­hout her life she used Jung's analytical approach, to address basic life questions.

Soon she was introduced to art works of various styles eg Expressionism, Fauv­ism and Cubism. Mer­et disliked the concept of “fem­inine art” and adopt­ed Jung's ideal, “and­rogynous creativity”. And Paul Klee’s work in the 1929 re­t­ro­spective at Kunsthalle Basel provided an­other strong abst­ract­ion­ist in­fluence

In 1932 at 18, Oppenheim moved to Paris from Basel and moved into the Académie de la Grande Chaum­ière. Her first Paris studio in Mont­par­nasse Hotel was where she created paintings & drawings. Then she met Hans Arp and Alberto Giacom­etti who visited her studio to saw her work. They invit­ed her to part­ic­ipate in Paris’ Surreal­ist exhibit­ion in Salon des Sur­indép­end­ants in Oct-Nov.

Happy to pose for photog­r­aph­ers, Man Ray’s popular photo ser­ies depicted Meret’s per­s­onal stance on femininity, and her care in exposing it.  In his photos, she posed grace­ful­ly eg Meret Oppenheim at the Printing Wheel (1933). 

Meret posing for Erotique Voilée by Man Ray, 1933,
Museum of Fine Arts Houston
dailyartmagazine

Op­p­en­heim later met André Breton and socialised at the Café de la Place Blanche with Surreal­ists. She experimented with Surrealism, seeking approval for her life­style. She was scep­tic­al of any concrete ideology, and Sur­realism al­l­owed her to experiment. But whereas other Surreal­ists used dreams to un­lock the sub­conscious, Oppen­heim used art and dreams in their sub­con­sciousness forms. Meeting Breton and his fr­iends, Oppenheim's circle joined other Surreal­ists eg Marcel Duchamp, Max Ernst, Francis Picabia and Man Ray. Man Ray was asked to exh­ib­it her best work at NY’s Museum of Mod­ern Art (1936), hanging along­side Paris and New York artists, includ­ing Sal­vador Dalí and Giacom­met­ti.

In 1936, Meret Oppenheim had her first solo exhibition at Basel’s Gal­er­ie Schulthess. Her best known artwork was Object-Breakfast in Fur (1936), con­sisting of a teacup, saucer and spoon, covered with fur from a Chinese gazelle. The hol­low round cup suggested wealthy female genit­al­ia; the phallic shaped spoon further eroticised the hairy obj­ect.  Meret was en­couraged by a con­versation she had about fur items with Pablo Pic­asso and his lov­er Dora Maar in Café Deux Magots. Obj­ect-Breakfast in Fur was quickly bought by Alfred Barr for the MoMA New York collection and was included in the mus­eum's 1st Surreal­ist exhib­it­ion, Fantastic Art: Dada and Surrealism (1936-7).

Meret Oppenheim's My Nursemaid, 1936

Surrealist sculpture high-heeled shoes, bound by string & on a metal platter.
Moderna Museet, Stockholm
Forbes

In 1937 Oppenheim returned to Basel, struggling with her artistic de­v­el­op­ment. She us­ual­ly worked episodically and sometimes destroyed her own work. So she took a career-break in 1939, af­ter a Paris Exhibition at Galerie René Dr­ouin with Max Ernst.

And see Meret’s furniture. Her whimsical Table with Bird’s Feet based on birds legs, on display at a fantasy furniture exhibition at Place Vend­ôme in 1939, was praised by the leaders of Italian design in Mil­an, and has now become an model of stylish interior design.

Bird Feed table, 1939

1stdibs

When her father was unemployed in 1939, Meret needed to do con­ser­v­ation for financial and emotional relief. She ret­ur­n­ed to Basel, train­ing as an art conservator to ensure her financial stability. But this marked a creative crisis that lasted for years. Although she had some con­­tact with her Par­isian friends, she created little art and dest­roy­ed much of what she had. In 1949, Oppenheim married Wolfgang La Roche and moved with him to Bern.

In Basel she became a mem­ber of Gruppe 33 and participated in their shows in Kunst­museum Basel. But Oppenheim was strugg­ling and did not present any public art exhibitions till the 1950s. Then she re­verted to with her new works to her original style and earlier creations. Oppenheim befriended the direct­or of the Kuns­t­hall Bern; his exhibitions helped her explore internat­ion­al arts.

In 1956, Oppenheim designed the costumes and masks for Picasso’s play Le Désir attrapé par la queue in Berne. In 1959, she organised a Spring Banquet in Bern for friends at which food was served on a naked woman. It caused contro­versy, with Oppenheim accused of treating the female body as dinner. With her perm­is­sion, Andre Br­eton restaged the perform­ance later that year at the op­ening of the Ex­pos­

it­ion inter­nat­ionale du Surrealisme, at the Galerie Cordier Paris. But Oppenheim felt her orig­inal aims were lost.

Surrealism was changing. In the 1960s Oppenheim felt she belonged with the younger, post-war generation and so she dist­anced herself from the older Surr­ealists. True to herself, she undertook fresh pic­torial lan­g­uage and in 1968, had a solo exhibition at Galerie Martin Krebs, Bern. Her pieces were everyday items that al­l­uded to female sexuality and ex­ploitation by men, perhaps confronting life and death. In this int­imate bronze sculpture (1977), folded layers ?referenced female curves.

Twist weave brooch by Meret Oppenheim, 1985

perfold

In 1982 Oppenheim won the Berlin Art Prize! That was the year that Meret Oppenheim: Defiance in the Face of Freedom was publ­ished, and she was commissioned to make a public fountain by Berlin's art commission. Her fountain was cast in 1983, receiving mixed reviews. In 1983 Oppen­heim was in a touring exhibition through the Goethe Ins­titute in Italy. In 1984 she had a solo exhibition in Kunsthalle Bern along with Musee d’Art Moderne in Paris. International recognition.. at last! She passed away in 1985.

Meret Oppenheim: My Exhibition will move to the Menil Coll­ection in Hous­ton Texas (till Sep 2022), before moving to MoMA in New York (from Oct 2022). The 200 ob­jects started from her smart 1930s Paris debut: from abstract works to jew­­ellery, paint­ings, sculptures and collages in Bern. See the catalogue.

clever Irish scientist: Mary Ward 1827-69.

Georgian London wrote about Margaret Bryan (c1770-c1816) who was working in 1797-1816 in the fields of astronomy and mathematics. Margaret ran a school for girls in her home, Bryan House, in Blackheath. She believed mathematics and astronomy were important subjects for both genders, and the girls who attended her seminary were schooled in what she termed Natural Philosophy.

Caroline's Miscellany wrote about Mary Fairfax Somerville (1780-1872). This Scottish  mathematician invented often used variables for algebra. In 1826 Mary presented a paper on solar magnetism to the Royal Society. Then she published her book: On the Connexion of the Physical Sciences, Physical Geography and Molecular and Microscopic Science.

The articles suggested that the Margaret Bryan & Mary Somerville stories go a long way to prove that at least social & intellectual equality was out there, for those women who had the talent and the ambition, during the Regency era.

That got me thinking. If it was possible for even one woman to study science, it should be possible for find others. Mary King (1827-69) was born in Ballylin Ireland. She and her sisters were educated at home by a governess, as were most upper middle class girls at the time. But in her era, when most women received little encouragement in the hard sciences, Mary King was unusual. Her education was richer because she came from a family where an interest in science was warmly encouraged.

Mary Ward

Mary became a keen astronomer, like her cousin William Parsons, 3rd Earl of Rosse. He was building the Leviathan of Parsonstown in his Birr Castle, a huge reflecting telescope with a 6’ mirror. Mary often visited him at home & sketched each stage of the process. Thus Mary, more than others, observed and chronicled the building of the giant telescope in the castle grounds. These sketches, along with photos taken by Parson’s wife Mary Rosse, were used when the telescope was restored recently. The telescope tube and supporting structure were completed in 1845.

Mary also drew insects, and the astronomer James South observed her doing so one day. She was using a magnifying glass to see the tiny details, and her drawing so impressed him that he immediately persuaded her father to buy her a microscope. For Mary, this was the beginning of a lifelong passion. She began to read everything she could find about microscopy, and became an expert herself.

Mary Ward’s Sketches with the microscope,
first published in Birr Castle in 1857offalyhistoryblog

Universities & scientific societies wouldn't accept women, but Mary remained close to science in any way she could. She frequently wrote to scientists, asking them about papers they had published. And through her famous cousin, William Parsons, Mary met many of the most eminent men of science of the day. Her access to the heart of the learned profession increased in 1848 when Parsons was made President of the Royal Society. Visits to his London home meant she was surrounded by scientists. She couldn’t join the Royal Astronomical Society, but she could be on their mailing list. Irish astronomer Sir William Rowan Hamilton (d1865), helped her as much as he could, especially giving her up-to-date copies of academic journal articles.

In 1854, Mary King married Henry Ward, an Irish peer, Conservative politician and soldier. They had 8 children, 5 of whom survived to a decent age. Henry’s ancestral home, Castle Ward, was a delightful place to live. Built in the 1760s, Castle Ward has dual architecture. While the entrance side of the building is done in a classical Palladian style, the opposite side is early Neo-Gothic. This duality in style continues throughout the interior rooms of the house.

Castle Ward, Gothic facade

Wiki

When Mary wrote her first book, Sketches With The Microscope 1857, she believed that no one would print it because of her gender. She published 250 copies of it privately, and distributed posters to advertise it. The run sold out in weeks, and this was enough to make a London publisher take the risk and make her a proper offer. The book was reprinted many times between 1858 and 1880, and became a bestseller. She wrote two further books, one of which was a beginner’s guide to astronomy called Telescope Teachings 1859, and several articles.

A talented artist, Mary illustrated all her own work. Stephanie Pain in New Scientist described how Mary made her own slides from slivers of ivory, prepared her own specimens and drew her observations in near photographic detail. When Scottish physicist David Brewster wanted microscope specimens, he asked her to make them. He admired her drawings too, and used them to illustrate his papers and books.

In Aug 1869, while travelling in a very modern-looking steam carriage invented by her clever Parson cousin, Mary was thrown from the carriage when it hit a bump. She was crushed by one of the wheels, dying instantly, and became a victim of the world's first automobile accident. Today, her microscope, accessories, slides and books can be found on display in a room dedicated to her in Castle Ward. The early death of this remarkable young scientist was tragic.

Leviathan of Parsonstown at Birr Castle, 

Atlas Obscura

For people who would like to pursue the topic further, I recommend Susan McKenna-Lawlor who wrote Whatever Shines Should Be Observed. It follows the lives of five exceptional, but little known Irish women in the C19th who achieved high recognition in scientific subjects, including Mary Ward. Furthermore the BBC produced a documentary in 1986 called The Wonderful World of Mary Ward in which her first scientific article was re-enacted.

John Curtin: Australian PM's modest homes

John Curtin (1885–1945) was born in rural Victoria to hard working parents and left school at 13. He became involved in the labour move­ment in Mel­bourne, joined the Labour Party at a young age and then the Vict­or­ian Socialist Party. He became State Secretary of the Timber Wor­kers' Union in 1911, then Federal President in 1914. Curtin was a lead­er of the No Campaign in the 1916 referendum on overseas conscript­ion, and was briefly gaoled for not attending a compulsory military medical examination.     

Curtin lived in a modest Brunswick residence from 1912-15, as Fed­eral President of the Victorian Timber Workers Union. He later bec­ame a leader in the Australian Workers Union. He married in 1917 then moved to Perth to become the editor of the un­ion movement newspaper West­ralian Work­er, and later was State President of the Aus­t­ralian Journ­al­ists' Ass­oc­iation. In 1923, he and wife Elsie built a house in Cottesloe, Perth. [This Cottesloe home was restored by the National Trust much later].

                                           

John Curtin and his wife Elsie built this modest house in 1923.

Cottesloe in Perth

National Trust

After 3 unsuccessful attempts, Curtin was el­ected to Fremantle in the W.A House of Representatives at the 1928 federal election. He remained loy­al to the Labour gov­ernment during the party split of 1931 but lost his seat in Labour's land­slide defeat at the 1931 election. Only in 1934 did Curtin win the seat again and rose up in the Aus­t­ralian Lab­our Par­ty, becoming party leader from 1935.

In 1936 Curtin was elected party lead­er in place of James Scul­lin. The party gained seats at the 1937. In Sept 1939 Prime Minister Robert Menzies announced Australia's entry into WW2 in Europe. The 1940 elections re­sulted in a hung parliament. The ALP eventually formed a minority gov­ernment in Oct 1941, just after the Japanese at­tack on Pearl Harbour oc­curred, so Australia now had to fight Japan as well! Worse still bom­bing raids on northern Australia started! John Curtin, Australia's 14th Prime Minis­t­er, led the nat­ion's war eff­ort and made significant de­cisions about how the war was conduc­t­ed. He placed Australian Pacific forces under the com­mand of the Amer­ican General Douglas MacArthur, with  whom he formed a close relat­ion­ship.   

John Curtin (R) became the prime minister in 1941.

Ben Chifley (L) was elected to the Cabinet as Treasurer

 

    

The Curtins with Canadian Prime Minister Mackenzie King,

Book of Remembrance in Memorial Chamber, 

Parliament House Ottawa, 1944. Wiki

The ALP won almost two-thirds of the seats in the House of Represent­at­ives at the 1943 election, a party record. In total Curtin was prime minist­er for 4 years, leading Australia through the last years of WW2 un­til his death in 1945. He was long­est serving leader of the Aust­ral­ian Labour Party-ALP from 1935-45, his leadership and interper­s­onal skills being accl­aimed by his polit­ical contemp­or­aries. Curtin died in office in July 1945, after months of war-related ill health. Fortunate­ly many of his post-war reconstruction plans were implemented by his succ­es­sor Ben Chifley.

 
In 2011 the heritage-listed home came up for sale; the vendors bought from a family who'd owned it since 1921. The unrenovated house had heritage demolition restrict­ions, so many of its original period features remained.  

Original facade, built in 1906

Brunswick Melbourne

The Brunswick home where Curtin once lived was bought at auction in 2011 by a family paying $710,000. Since then, the ex PM’s home had a renovation, while keeping many of its original Victorian features eg the original façade, stained glass at the front door, ceil­ing roses, wrought iron lacework and 3.3m ceilings. It now had quite gen­erous rooms wh­ich were more fitting as a form­er Prime Min­ister’s home than his actually home had been. Later the house had a plaque added onto the front, mark­ing its historic signif­ic­ance.  

Blue plaque

   

Now Curtin’s former Brunswick home, Melbourne property with a prime min­ist­erial pedig­ree, will be auctioned again at the end of Mar 2023. The less modest four-bedroom house at Fallon St Brunswick still feat­ur­es a plaque on the footpath outside marking its historical sig­nific­an­ce, and has a price guide of $2.1-2.3 million. I would buy the house in a heart beat, but not just because the historical architecture and déc­or should be heritage-protected forever. Rather I need like to know how many prime ministerial houses can rec­eive a blue plaque; Curtin lived in 1]Creswick and 2]Brunswick in Vic­toria, 3]Cottesloe in W.A and 4]Canberra, and possibly other cities I don’t know about.

renovated Brunswick kitchen

Woodards

renovated alfresco deck
realestate.com.au