Felicitas Heimann-Jelinek

• The Jewish museums established in the fin-de-siècle Habsburg Empire postulated the unity of “the Jewish people,” with custodians constructing an “us” (Jews) in distinction to the “other” (non-Jews). In the difference-oriented frenzy of the time, Jewish identity was predominantly presented as Central European, enlightened, not overly religious, and middle-class. Then, when the Viennese Jewish Museum opened its doors in 1895, the painters Isidor Kaufmann and David Kohn created an installation called “Die Gute Stube” (The Parlor). This exhibit housed books, furniture, as well as decorative and ritual objects of the kind that were thought to be found in typical Eastern European Jewish households. However, as this article argues, this attempted visualization of the essence of Judaism and the range of Jewish life worlds promoted a paradigmatic stereotype with which Jewish museums would have to struggle for decades to come.