88 practices of remembrance
to rejoice over Austrian gains against the Russian army. By the end of
the war, he had moved to the Italian front. In 1920 he left the army and
worked as a physician in Vienna, specializing in dermatology and
venereal medicine. After Kristallnacht, Bardach and his wife left
Vienna, and via Italy and Portugal they reached the United States in
1941. He became an American citizen in 1946 and died the following
year. Three of his four daughters also emigrated to the United States.
Bardach’s collection of papers and photographs on his war ser-
vice at the Eastern Front is valuable on a number of levels. It is
palpable evidence of the Jewish contribution to the war e√ort of the
Central Powers and, while unquantifiable, provides a host of ri-
postes to the half-formulated slurs of the Judenzählung and the
Dolchstosslegende. But it also introduces us to themes central to our
understanding of the linkage between war and memory, themes
which these photographs help relocate in an entirely new geography.
The war in the east was a landscape for the encounter, even the
collision, between the old and the new. In these photographs, we see
a Viennese doctor, with the training and outlook of modern medi-
cine, enter a world remote from its tools, its outlook, its scientific
method. The view of the other gained by physicians like Bernhard
Bardach reflected the isolation, the poverty, the traditional character
of rural settlements throughout the combat zone which linked the
borderlands of the Austrian, German, and Russian empires.
Many of the photographs he took were of non-Jewish commu-
nities and subjects. Christian religious observance is privileged, as
are the faces of Polish and Russian peasants, caught up unfortu-
nately in the maelstrom of war. But alongside these portraits of
Christian life disrupted by war are glimpses of the world of eastern
European Jewry. Some of the portraits of Jewish figures are striking
and attractive; comparisons immediately suggest themselves with
the faces in Roman Vishniac’s work.
∞≠
Others are less noteworthy.
But however we evaluate them, these faces illustrate the profoundly