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Rabbits and Ladders

PAUL KLEE’S ANGELUS NOVUS (1920) has accrued almost iconic status because of its appearance in one of the most famous passages of Walter Benjamin’s ‘Theses on the Philosophy of History’. The image of the Angelus, which is held at the Israel Museum in Jerusalem, has become a sort of cipher for Benjamin’s influential historical materialist ethics. Given its cultural significance, when the artist R. H. Quaytman was permitted to view the work in 2013 she assumed she would have nothing to say about it that had not already been said. When she looked at the monoprint, however, she noticed that the thin, dark margin surrounding the figure was part of an older mechanically produced engraving ‘so devalued that no one had even noticed it’. After two years of research, and with help from several specialists, she identified the obscured image from a digital database of over 60,000 engravings. It transpired that Klee had pressed his angel onto a mass-produced copy of a 1521 portrait by Lucas Cranach the Elder depicting Martin Luther, leader of the Protestant Reformation, whose writing was used to justify anti-Semitic violence from the late nineteenth century through to the Nazi dictatorship. The spectral presence of Luther beneath