Massacre of the Innocents 1936

Curator: Cyprián Majerník created this watercolor, entitled "Massacre of the Innocents," in 1936. Editor: My first reaction is one of disquiet. Despite the muted pastel tones, the fragmented, almost machine-like figures convey a sense of brutal violence and dehumanization. It's chilling, even unnerving. Curator: Majerník employs a cubist and surrealist lens to approach a deeply symbolic scene. The biblical story of Herod's decree is typically interpreted as a fight against tyranny, but here it is shown abstracted into this almost nightmarish scene, its shapes reflecting a distorted reality, possibly a premonition to the atrocities of the second world war about to engulf Europe. Editor: That's precisely where my mind goes. Looking at this work through the socio-political context of 1936, with fascism rising across Europe, one can feel Majerník grappling with the looming threat of violence against the most vulnerable. The distorted forms mirror a society collapsing into barbarity, and that baby below clearly symbolizes victimhood and erasure of innocents. Curator: Absolutely. Consider also how the image lacks spatial depth and realistic proportion; it amplifies this atmosphere of tension. It’s as if the composition itself is fragmenting, reflecting a world on the brink. We also need to note how even abstract images build their effect through repeated archetypes and remembered images - the suggestion of the knife is very present here. Editor: And the pastel color palette makes this rendering especially unnerving – juxtaposing the horror of infanticide against typically ‘soothing’ hues makes a striking commentary, reflecting how state-sanctioned violence can appear banal within oppressive regimes. It becomes easy to ignore such atrocities, until it affects oneself directly. Curator: So, here we are, faced with a powerful abstract work. Majerník does not shy away from imbuing forms with layered symbolism and depth. His choice to utilize an already-loaded story in a time of societal disruption and impending tragedy adds depth to an image. Editor: Majerník gives the viewer a fractured glimpse into the collective trauma building within the artist's immediate world and comments upon today's conflicts and oppression of the marginalized and disenfranchised. This resonates and continues to bring pause, reflection, and calls to action.