By Tanja Schult
Raoul Wallenberg is generally remembered for his humanitarian job on behalf of the Hungarian Jews in Budapest on the finish of worldwide warfare II, and often called the Swedish diplomat who disappeared into the Soviet Gulag in 1945. this day, Wallenberg’s instance is used to speak humanitarian values and human rights in lots of democratic societies. His tale contains a classical hero narrative which has survived the ‘un-heroic’ twentieth century.
In 2008, there exist thirty-one Wallenberg monuments in twelve international locations on 5 continents, from Hungary to Sweden, from Canada to Chile, from Australia to Russia. the wealthy range of the monuments invitations to debate the several suggestions of Wallenberg and heroism as expressed within the artists’ works. The art-historical concentration of this interdisciplinary learn makes it a helpful contribution to the dialogue of non-public monuments, in addition to to the socio-historical study at the commemoration of Wallenberg and the idea that of the hero.
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Additional resources for A Hero's Many Faces: Raoul Wallenberg in Contemporary Monuments (Holocaust and Its Contexts)
None of the publicly accessible Wallenberg monuments will be excluded, but not all will be discussed to the same extent. Extensive case studies of typical representatives for a certain Raoul Wallenberg understanding will be described and analyzed in detail while other monuments will be treated briefly if they do not contribute anything new to the topic. The subsequent comparative discussion concentrates on genrespecific aspects and the expectations placed upon the genre. Thereby, the analyses of the Wallenberg monuments will be deepened and embedded in the broader context of the personal monument genre.
9 The situation in Budapest became increasingly anarchic as the Red Army came closer. In order to assist the Jews more effectively, Wallenberg moved his office from Buda, where most of the foreign legations, including the Swedish Legation, were situated, to the Pestside. Here, on the Pest-side, were most of Wallenberg’s protégés, the international as well as the large ghetto. The Arrow Cross cracked down on the rescue attempts, and began attacking the safe houses and even the Swedish Legation in December 1944.
46 While the 1960s had no direct influence on the development of the personal monument genre, these years of experimentation and of challenging norms were nevertheless important and in the long run also influential for sculpture and the monument genre. While some artists had experienced World War II and the Holocaust as a fundamental rupture that made it impossible for them to continue in their former style, other artists continued to look at nineteenth Introduction 15 century’s monuments for inspiration, if even certain elements, such as the base, were subject to change.
A Hero's Many Faces: Raoul Wallenberg in Contemporary Monuments (Holocaust and Its Contexts) by Tanja Schult