This group of four cups feels quite autobiographical for Bak and typical of his Generation to Generation paintings. The monumental worn green cup atop the hill surrounded by a verdant sylvan vista has a presence and dimension which feels structurally and metaphorically like an old established protectorate. Unfortunately, the potential entrances into this space are now a bricked-up door well and a blocked window. Interestingly, this structure is not broken nor destroyed, it simply no longer allows access to the damaged cups which stand on the barren and inhospitable path before it.
The downhill trajectory of this broken trail offers a metaphoric progression of sequential generations. However, for the Bak family, as well as many Jewish families enduring the Holocaust, it became a lineage of death, damage, and isolation. The majority of Jews in Vilna, including Bak’s grandparents, father, and other relatives, died during the genocidal siege. Thus, the largest (oldest?) of the three cups is almost completely destroyed with broken pieces being futilely reattached and supported with wooden poles forming a vav (crossed or x-ed) holding up the left side and nailed slats forming a gimel on the front. This is destruction of the Vilna Ghetto with a crematorium smokestack belching a poignant confirmation. Why??? The iconic Bak “teacup handle” question mark hangs suspended perilously, but dramatically, as a viewer interrogatory.
The colorful lavender cup has surface damage but remains mostly intact and able to function as a holder of liquid. The spoon and cup both receive the benefit of a stabilizing brace. Unfortunately, the supportive saucer beneath it has been completely shattered leaving stripe-rimmed shards reminiscent of a broken rainbow. Bak’s elegant mother protected him throughout the traumatic years of the Holocaust and, miraculously, they both survived. As would be expected, she initially lost much of her support system, but with maternal tenacity was able to incrementally build a successful life for both of them.
At the base of this painting lies a tiny colorless but completely intact cup resting in the bowl of a broken spoon. The youngest of the generations is starting life with something less than the wonderful “silver spoon” childhood which one might imagine. For the multitude of critical issues confronting humankind which Bak has addressed to his willing viewers, we are grateful this smallest cup survived and flourished.
Dr. Carl M. Herbert (Guest Writer)
BAK a Day, March 18, 2024
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Once upon a time Bak designed for the stage.
Try to image what script would be employed for this remarkable set.
My Cup runneth over with the ages of The Cup.
From the small in tact Cup in the foreground resting in spoon, to the blue whole Cup with spoon in it to merged monumental Cup which encases the set design. The bound handle as question mark help frame the scene on the exterior of the largest Cup.
Boarded up and bricked window and walls provide the backdrop for the ominous chimney belching the smoke of death.
All situated in a woods with broken shards of the saucer.
All inviting us to add our own script to this Reversed Design/Stage.
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