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The Nazis didn’t care that Paul Klee wasn’t Jewish
Paul Klee is hard to describe. The German artist’s works, which he began creating in his childhood until 1940, when he died at age 60, vary widely; they often feature abstract forms, but just as often figures. They are known for strong colors, but some are monochrome. He taught at the Bauhaus school, is considered by some to be the father of abstract art, but he’s also foundational to surrealism and German expressionism. He uses cubism and pointillism.
What he is not particularly known for is his political statements. But a new exhibit, Paul Klee: Other Possible Worlds, opening this week at the Jewish Museum in New York, is looking to change that.
The exhibit, curated by Mason Klein in his final exhibit as senior curator at the museum, includes work from throughout Klee’s career, tracing a throughline of political commentary on fascism and authoritarianism that has gone little discussed. Its centerpiece is the first U.S. exhibit of a cycle of sketches the artist made in response to the Nazi assumption of power in 1933. It was an important year for Klee — it was the year he was removed from his teaching position at the Düsseldorf Academy of Art, in response to pressure from the new regime.
Klee was not Jewish. But Nazi press defamed him as Jewish anyway to justify his termination. “He tells everybody he has pure Arabian blood in his veins, but he is actually a typical Galician Jew,”read an article in Nazi outlet Die Rote Erde.
Klee was one of the first artists the Nazis declared “degenerate,” a descriptor applied to the abstract artists, often Jewish, who the regime sought to smear as sick, immoral and corrupting to the idea of German culture that Hitler promoted; 17 of his works were featured in the infamous Degenerate Art exhibition organized by Nazi leaders in 1937, which compared the artworks to the drawings of the insane. In another Nazi publication, Volksparole, he was accused of advancing “the Bolshevist ideals in art of communists and Jews.”
Klee, along with his wife Lily and son Felix, fled to Switzerland. But before he left, he drew hundreds of sketches satirizing Nazi ideology, full of chaotic lines, evoking the distress of the era. Klee’s concerns about the shifting culture are also seen in the pointed titles of each work, which he noted in a meticulous catalogue he maintained.
In “Stammtischler,” a clearly recognizable portrait of Adolf Hitler stares out from the page, with small, beady, scribbled eyes. In English, the title translates to “drinking companion,” a term with the positive-leaning connotation of an affable friend. But in German, writes curator and art-historian Pamela Kort, the term Klee uses suggests an oaf who voices loud, poorly-informed opinions. Given that U.S. pundits often discuss which candidate the voters can imagine drinking a beer with, “Stammtischler” feels like a warning.
The museum’s director, James S. Snyder, noted the exhibit’s resonance to our current era in his remarks at the exhibit’s press preview. And it is hard not to think of our current political milieu when perusing Klee’s sketches.
“This Game is Getting Out of Hand,” which shows a group of children with several balls in the air, depicts brawling as much as playing; Klee, the wall text elsewhere in the exhibit notes, was deeply concerned about the long-lasting effects of exposing children to Nazi ideology and violence. This evokes today’s extremist influencers — often young men who grew up immersed in the toxic soup of the internet — who use a trolling tone when espousing antisemitism or misogyny. It’s all a joke, supposedly, but the joke is getting less and less funny.
The political dimensions of Klee’s work are most obvious in the sketches. But they highlight the mockery of authoritarianism and fascism woven throughout his other work. “Your Ancestor,” a drawing of a monstrous, Gollum-like creature, pokes fun at the Nazi focus on eugenics. The wall text argues that his strangely colored paintings of fruit can be read as commentary on the pitfalls of selective breeding. “Athlete’s Head,” a portrait of a distorted face, is, according to the exhibit, “satirizing the Nazis’ superficial glorification of the heroic athlete” in light of a required five hours a day of athletics in schools.
Klee’s dismissal from his teaching position was not the first time Klee was slurred as a Jew. Over a decade earlier, when he was nominated as a professor at the Stuttgart Art Academy, critics who felt his art was too left-wing referred to him as “Paul Zion Klee.” (He did not get the position.)
This inspired Klee to paint “Harlequin on the Bridge,” which deals openly with antisemitism. In it, a harlequin figure represents Klee himself, a Star of David hanging over his head, against an ethereal, unsettling background. The work wrestles with the idea of the perpetual outsider, whether jester or Jew, as the bridge between worlds, their positionality enabling them to access new ideas, combine categories and reach other worlds.
Klee’s politics are not always obvious. At times, it can feel hard to imagine that these abstract, modernist works are truly making a winking political commentary on antisemitism or Nazism, especially given that Klee did not speak publicly about his political views — though he wrote about them in personal letters to his wife and friends. Other Possible Worlds compellingly highlights the political valences in his work, but they remain open to a wide range of interpretations.
It all raises the question of why, if so much of his work had a political subtext, Klee did not take a louder, more pointed stand against the Nazis. Even his sketches, which criticize the new political regime, do so via caricature and irony. The titles, which give a trenchant context to each work, are still indirect. The power of Klee’s work lies in its ambiguity and ability to contain worlds, but it makes for poor activism.
In his writing, Klee appears to have decided that the best response to the vilification was to refuse to dignify it with any acknowledgment, however much he addressed the criticism in his art.
“It seems unworthy of me to undertake anything against such crude attacks,” he wrote in a letter to his wife. “For even if it were true that I am a Jew and came from Galicia that would not affect my values as a person or my achievement by an iota.”
Paul Klee: Other Possible Worlds will be on display March 20 – July 26, 2026 at The Jewish Museum in Manhattan.
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Russians Retreat as Al Qaeda-Linked Jihadists, Tuareg Separatists Kill Mali’s Defense Minister, Capture Key Town
A Malian soldier stands in position with his weapon during an attack on Mali’s main military base Kati outside the capital Bamako, Mali, April 25, 2026. Photo: REUTERS/Stringer
The military junta in Mali came under attack this past weekend in multiple locations across the expansive desert nation, resulting in the death of Defense Minister Sadio Camara and the seizure of Kidal, a key town in the African country’s eastern region.
The strikes resulted from an alliance between Jama’at Nusrat al-Islam wal-Muslimin (JNIM,) an Al-Qaeda-linked jihadist group fighting to establish a state governed by strict Islamic Shariah law, and the Azawad Liberation Front (FLA), a Tuareg rebel separatist militia which seeks to form an independent nation in Mali’s northeast.
Local sources told France 24 that the groups had seized control of Kidal, a reported FLA stronghold, on Monday. This victory followed the retreat of Russia’s Africa Corps, the mercenary organization the Malian government had contracted at a monthly rate of $10 million to provide security.
Fox News Digital reported reviewing video of Russian mercenary casualties and Russian vehicles fleeing Kidal. An FLA spokesperson told the Associated Press that Russia’s Africa Corps had withdrawn and that a “white” agreement had been made.
Other locations hit by attacks included Kati, Gao, Sévaré, and Mopti.
JNIM took credit for bombings at Mali’s primary airport in Bamako.’
Meanwhile, JNIM is the suspect of a car bomb planted outside Camara’s home which exploded on Saturday, killing Mali’s top military leader and three other family members.
The attacks tell “every Malian, every regional capital, and every foreign partner that JNIM can operate at will inside the supposedly secure heart of the state,” Justyna Gudzowska, executive director of The Sentry, an investigative and policy group, told Reuters.
Mali’s military junta, which has ruled since August 2020, on Monday announced injuries sustained by two of its other leaders, Gen. Oumar Diarra, who serves as chief of the armed forces’ general staff, and Gen. Modibo Koné, director of the National Security Agency.
Yvan Guichaoua, a Sahel specialist at the German research center BICC, told Reuters that the attacks intended to “decapitate” the government.
A spokesperson for the US State Department said that the United States “strongly condemns” the terrorist attack in Mali.
“We extend our deepest condolences to the victims, their families, and all those affected,” the spokesperson added to Fox News Digital. “We stand with the Malian people and government in the face of this violence. The United States remains committed to supporting efforts to advance peace, stability, and security across Mali and the region.”
A statement from the office of UN Secretary-General Antonio Guterres said he is “deeply concerned by reports of attacks in several locations across Mali. He strongly condemns these acts of violence, expresses solidarity with the Malian people, and stresses the need to protect civilians and civilian infrastructure.”
Ulf Laessing, head of the Sahel program at the Konrad Adenauer Foundation in Germany, told Germany’s DW that the strikes were the biggest he had seen in the country in years.
“Remarkably, there has been a coordination between jihadists and Tuareg rebels, which have nothing in common, but they have a joint enemy,” Laessing said. “They staged together an attack in 2012 and took over northern Mali. Then later they fell out. The jihadists got rid of the Tuaregs. So, it’s remarkable that they made a comeback.”
According to a statement from Russia’s foreign ministry posted to Telegram, 250 militants struck the Bamako Senou International Airport and the military base nearby.
“The Malian Armed Forces repelled the attack and are currently taking further steps to eliminate the militia that may have been, reportedly, trained by Western security agencies,” the foreign ministry said. “Russia is deeply concerned about these developments. This terrorist activity poses a direct threat to the stability of friendly Mali and could have the most serious consequences for the entire region.”
Laessing also spoke to the Associated Press, calling the attack a major blow to Russia.
“The [Russian] mercenaries had no intelligence about the attacks and were unable to protect major cities,” he said. “They have unnecessarily worsened the conflict by not distinguishing between civilians and combatants.”
“The fact that the Malian military intelligence has not been able to detect that these attacks were about to take place is a major failure for them,” Nina Wilen, director for the Africa Program at Egmont Institute for International Relations, told DW, saying the attacks revealed how “strong JNIM has become over the past year.”
She noted that Camara had been a key figure in establishing relations with Russia, making him a symbolic figure to target and send a message opposing the presence of Russian troops.
Islamist activity in the Sahel of Western Africa has risen in recent years, causing analysts to label the region the most lethal place on the planet for terrorist deaths, with JNIM leading the body count.
The trend has caught the attention of Washington, DC.
“Across the Sahel in West Africa and in East Africa, terrorist groups are expanding, embedding, and operating with increasing capability,” US Sen. Ted Cruz (R-TX) said during a hearing last week on terrorism in Africa. “ISIS affiliates and al-Qaeda-linked groups are growing, controlling territory, and exploiting weak governance.”
“In region after region, terrorist groups are outpacing the ability of local governments to respond,” Cruz added. “The failures threaten our interest globally and endanger the American homeland. The threat is rapidly growing and demands attention.”
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US soldier charged for threatening to ‘kill every single Jew’ inside of a synagogue
(JTA) — A soldier stationed at Fort Polk in Louisiana was arrested last week after he told users on the popular messaging platform Discord that he planned to conduct a mass shooting at a synagogue.
Jakob Marcoulier, 22, was arrested last Thursday and charged with transmitting a threat in interstate commerce after the FBI’s National Threat Operations Center received a tip in February that he had made threats toward synagogues, according to the U.S. attorney’s office for the western district of Louisiana.
According to court documents, the FBI obtained audio from Discord in which Marcoulier allegedly said, “After this deployment if the Jews still have reign over our government, I am going to walk into a synagogue with my AK, with a 75-round drum mag, and all of my extra mags, with my level four plates, and my haka helmet that’s three plus, and I am going to kill every single Jew I know inside of that synagogue. And that’s my goal in life.”
During the communications, Marcoulier told the other users, “You guys will never do anything about but I will. I just have to finish this, I have to go back overseas and do what I have to do. And then you’ll see me in the news. I promise you.”
He also allegedly said that he would “kill these motherf—kers in order to make sure the white youth is f—king secured.”
It was not immediately clear when Marcoulier made the comments, but the United States and Israel jointly attacked Iran on Feb. 28 following a buildup of U.S. troops in the Middle East.
The Iran war has put Jewish institutions across the country and the around the world on high alert, with attacks on synagogues including arsons in Europe and a synagogue ramming in suburban Detroit last month.
“Threats against synagogues and Jewish Americans are threats to the religious freedom promised to every single one of us, and this Office and our law enforcement partners are committed to protecting those freedoms,” United States Attorney Zachary A. Keller said in a statement.
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J.D. Salinger asked publishers to remove references to his Jewish heritage, newly surfaced letters reveal
(JTA) — Acclaimed author J.D. Salinger asked his publisher to remove references to his Jewish heritage in the book jacket of “The Catcher in the Rye,” newly surfaced letters from 1951 reveal.
The request came in a letter from Salinger, a notoriously private man, and his editor, John Woodburn at publisher Little, Brown and Co. The correspondence, which took place in early 1951, predates the first publication of “The Catcher in the Rye,” Salinger’s hit coming-of-age novel.
“I don’t know that I’d like to have that Jewish-Irish business slapped on the jacket,” Salinger wrote. “Surely if it’s catchy, that is.”
The letter has come to light because Peter Harrington Rare Books, a bookseller based in London, has listed it as part of a package for sale in the New York International Antiquarian Book Fair, which begins on Thursday.
“The Catcher in the Rye,” a contemporary classic following the life of angsty boarding school student Holden Caulfield, is one of the best-selling books of all time.
Caulfield’s character is of Irish heritage, like Salinger’s mother. But Salinger was the son of Sol, a cheese salesman (whose wares might have been kosher) and the grandson of a rabbi on his father’s side. His mother, Marie Jillich, went by Miriam to appease her in-laws who disapproved of the mixed marriage. He learned his mother’s real name only around the time of his bar mitzvah.
To Woodburn, Salinger wrote that he worried about being pigeonholed as a Jewish-Irish writer if the book broadcast that information.
“My Jewish-Irishness isn’t quite so bizarre, as, say, [James] Thurber’s eyesight,” Salinger wrote, referring to the American author and cartoonist, who was legally blind by that time. “But nonetheless, second-rate reviewers would probably find the information just provocative enough to use and misuse over and over again, and I’d end up being expected to wear a Star of David and a Shamrock on the back of my sweatshirt. So, please, let’s be careful.”
Salinger’s other famous works include the 1948 short story “A Perfect Day for a Bananafish,” which follows the Irish Catholic-Jewish Glass family, who also make appearances in “Franny and Zooey.”
The letters, previously unpublished, were acquired from a private collector and will be on view at the New York International Antiquarian Book Fair at the Park Avenue Armory from Thursday to May 3.
The bookseller is also currently offering a first edition of the script of West Side Story, inscribed by all four writers of the play, book, and music: Leonard Bernstein, Jerome Robbins, Arthur Laurents, and Stephen Sondheim. Peter Harrington has also sold a rare, first printed edition of “De Bello Judaico” by Josephus Flavius, the first-century Roman-Jewish historian.
The triad of letters is currently offered at a set price of $47,500 and includes two typed letters by Salinger, with his signature, and a carbon copy of Woodburn’s reply. It also includes a reference to one of Salinger’s “lost stories,” a prequel to “Catcher in the Rye” that was not to be published until 50 years after his death.
Salinger died in 2010 at the age of 91. The “lost story,” “The Ocean Full of Bowling Balls,” was set to be published in 2060, but in 2013, it was pirated and leaked online.
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