Q1b1a1a1a1/Q-Y2200: Krupa vs. Oppenheim/Oppenheimer
Case study I.: A brief look at the proximity of the Krupa lineage Q1b1a1a1a1/Q-Y2200 and the Oppenheim (von) / Oppenheimer lineages Q1b1a1a1a1/Q-Y2200
A lot has been written on internet about the fact that one of the most known surname in human history belongs to Ashkenazi Y-DNA lineage known as Q1b1a1a1a1 (and further newly detected and still not enough investigated minor recent subclades of the lineage).
That is the lineage not just of the J. Robert Oppenheimer director of the Manhattan Project, known as the “father of atomic bomb” and high Jewish nobility of Europe (Alfred Paul Ernst Freiherr/Baron/ von Oppenheim etc.) but also of the one of most powerful banking dynasties and of one of the most wealthiest families in the world.
From the Jewish “Patriziergeschlecht” Oppenheimer noble families “of Oppenheim”, “Oppenheimer”, “von Oppen field” and the “Lichtenstein” emerged. The family is related to the family Wertheimer, Cohen, Gomperz, Guggenheim, Auspitz, Lieben and Todesco. The narrow band of families provided a substantial international influence in the finance business, the commercial sector and in politics.
According to Forbes: Some 40 family members share in the ownership of Sal. Oppenheim Jr. & Cie. The bank, which was founded in 1789, is Europe’s largest ($8 billion in assets) and perhaps most prestigious private bank. It specializes in asset management and private banking.
Nicky Oppenheimer has a net worth of $6.2 billion as of April 2016, according to Bloomberg. He is the richest person in South Africa and is the 139th richest person in the world. How did he get rich? He is the chairman of De Beers diamonds, of course, and also has a significant interest in Anglo-American plc, the gold mining company. He also owns Tswalu Kalahari Reserve, the largest private game reserve in South Africa.
Due to my profession and family legacy, my particular or primary interest was in the fact that many scientific researchers (archeologist Max Freiherr /Baron/von Oppenheim etc.), scientists ( Dr. Frank Friedman Oppenheimer – the founder of the Exploratorium in San Francisco etc) and visual artists belongs to this surname (for insight in this fact please browse “Allgemeine Kunstlerlexikon – AKL On Line” or just type“artist Oppenheim” in Google).
Robert Oppenheimer with Albert Einstein, Bertrand Russell and other giants founded The World Academy of Arts and Sciences (WAAS).
From this family comes also Gustav Ludwig Hertz (22 July 1887 – 30 October 1975) who was a German experimental physicist and Nobel prize winner and a nephew of Heinrich Rudolf Hertz (22 February 1857 – 1 January 1894) who was a physicist who first conclusively proved the existence of electromagnetic waves theorized by James Clark Maxwell’s electromagnetic theory of light. Hertz proved the theory by engineering instruments to transmit and receive radio pulses using experimental procedures that ruled out all other known wireless phenomena. The unit of frequency – cycle per second – was named the “hertz” in his honor.
Von Oppenheim Coat of Arms (Wappen) – Kruppa von Oppenheim(ers)?
From the Oppenheim family also comes Matthias Graf (Count) von Krockow, Richard Maria Albert Emmerich Wilhelm Graf (Count) von Matuschka, Freiherr (Baron) von Greiffenclau, Freiherr (Baron) von Toppolczan und Spaetgen, gen. Graf Matuschka-Greiffenclau rtc.
Family Lichtenstein (our DNA match too), sometimes called„Liechtenstein“, Lichtstein, von Lichtenstein is Oppenheim family of changed surname after conversion on Christianity.
Research through genetic genealogy
Naturally this intrigues every normal person more or less and in this note I have briefly looked how I am related to him/them. In light of the fact that my family first surname is not known.
There is no conventional records of the direct paternal lineage for my Krupa family
Available or known genealogy of the Oppenheim family claims origin from a single person born some 540 years before the time of my own birth (1971):
Jehuda Löw Oppenheim (born on unknown location abt 1430 – † ca. 1531 in Worms)
Map from Jews of Frankfurt DNA Project, with listed kit numbers
There is a number of branches of this family: German as the largest and principal, French, Moravian-Slovakian etc.. I speculate that there is also a branch from Polish – Lithuanian Commonwealth, later Russian Empire.
One of them is baptised in 16th century, but not much data are available – descending from
Loeb OPPENHEIM “of Hirsch”, “of gruenen Schild”, “of Rindsfuss” Frankfurt. Died: 1574 baptised: Paulus Renatus. DNA results not available to me. Due to the reason that my own lineage has been baptised under unclear circumstances this branch can be of potential interest in further research.
In 23&Me closest cousin (3rd-6th) in Q1b lineage is D. Hirsch (dont forget that “Oppenheim of Hirsch”) an architect from Metz and Hague.
Most often surnames include Cohen and Katz, which is important for the von Oppenheim genealogy research:
Most often surnames in Mladen Kruppa M.Sc 23&Me results (criteria is that surname appears 5 or more times among ancestral surnames of DNA matches)
Y-DNA comparison
In my current Y-DNA results at FTDNA (kit 89372) I have found that I match 3 persons on 37 Y markers (no higher number of markers currently available) and one on 67 Y markers (STR). Also, one more distant I have found in YSearch database.
In total 5.
In this article personal names of living people are removed for the privacy protection reasons.
Using well known FTDNATip Calculator (algorithm for calculation of time frame of the most recent common ancestor) in last 16 generations or 400 years (one genetic generation is c.25 years) we share common male ancestor with aprox. 80,19 % certainty with the Hamburg branch. For last 20 generations or 500 years that goes to 93,28%.
One of the calculations of the time frame fot the most recent common ancestor (TMRCA)
The most interesting one – Moravian/Slovakian branch is not tested so far. That is the most interesting one due to the reason that my grandfather has been born in neighbouring Silesia.
On available genealogical resources like Geni.com we can found records of number of Oppenheim/Oppenheimers from Silesia.
Additional insight into 37 Y-DNA comparison:
At level of 400 years with this branch there is probability of 82,52% of most recent common ancestor
One more distant branch than those of Hamburg
Most distant one (unknown Oppenheim) at the public database YSearch:
YSearch, the most distant Oppenheim branch
Autosomal DNA matches (from all other chromosomes but Y and X chr excluded)
Cousin from public database www.Gedmatch.com (7.5 generation distance)
William Milton OPPENHEIM (1918-2008)
GEDmatch Ref: 9871096 : I1156
Ancestral surnames (entire ancestry from federal states Hessen, Oberhessen, Rheinland-Pfalz, Germany): Daub, Goldschmidt, Dewald, Herz, Allendorf, Kahn.
Oppenheim match from the public database/tool at Gedmatch.com. This Oppenheim has known ancestry solely from the Hessen Federal State in Germany with capitol Frankfurt am Main. And it overlaps shared segment on Chr.1 with two Oppenheimer matches at the 23&Me database.
Public details from http://www.Gedmatch.com
Krupa, Oppenheimer autosomal matches at 23&Me
Oppenheim and Oppenheimer matches of Mladen Krupa M.Sc. in 23&Me database on 29th of April 2016
Conclusion:
It has become clear through these limited but instructive findings that paternal lineage of my family (of unknown first surname) and the von Oppenheim/Oppenheimer paternal lineage are the very same lineage.
Therefore, the Krupa/Kruppa family is in various ditances related to the family Wertheimer, Cohen, Gomperz, Guggenheim, Auspitz, Lieben, Hertz and Todesco as well.
What we don’t know for sure is when we branched. Evidences suggest possibility within borders of so-called “genealogical time frame”.
Furthermore, in autosomal DNA Relative Finder at 23&Me database I have found that my father Mladen Krupa M.Sc match two person with one only common thing – ancestral surname Oppenheimer. With triangulation tool it has become obvious that we share common ancestor with common large autosomal segment (IBD) on Chr.1. Also, there is another match with ancestral surname Oppenheim.
In Gedmatch autosomal DNA database one Oppenheim match has been found as well. He share also the very same segment as two Oppenheimers from 23&Me (Chr.1). That is proof of the common ancestor.
That allows relatedness not just via common paternal ancestry/lineage (which is not unique for the Krupa family and shared among number of others in our haplogroup) but also through so-called “side lines” creating sort of more unique “von Oppenheim/Oppenheimer” ancestral genetic matrix for the Krupa family.
Research is far from complete.
As new evidences and test results comes I will take another look and re-examined the proximity between two families or should I say proximity between branches of a single family.
Alfred Krupa – Croatia
Contemporary Art at the 32.Festival Sarajevo „Winter“ 2016-Zeitgenössische Kunst auf dem 32.Festival Sarajevo „Winter“ –
Jürgen Weichardt Kaiserstr. 7 D-26122 Oldenburg
Zeitgenössische Kunst auf dem 32.Festival Sarajevo „Winter“
In der Woche zwischen dem 13. und 20. März 2016 lag das Schwergewicht des 32. Festivals Sarajevo Winter auf Präsentationen von Videos von Künstlerinnen und Künstlern aus ganz Europa sowie auf Malerei- und Fotografie-Ausstellungen.
Die Videos wurden im oberen Stockwerk des Ars Aevi Museum Depots aufgeführt, wobei die Leinwand zwischen den Fenstern des Museums so angebracht war, dass der Blick auch auf die leicht ansteigenden Berghänge der beleuchteten Stadt Sarajevo fiel, die auf diese Weise permanent an den Präsentationen beteiligt war. Nicht allen, aber manchen Videos gab dieses Ambiente einen zusätzlichen Reiz, der nirgendwo anders gewonnen werden kann.
Eingeladen zur Präsentation waren 13 Künstlerinnen und Künstler aus Europa mit Videos zwischen 3 und 10 Minuten Länge. Thematisiert wurden auf unterschiedliche Weise zwei Kapitel des Lebens in der modernen Welt: Die subjektiv existentielle Situation des individuellen Menschen, seine Verlorenheit und mögliche Rettung in der Beziehung zu einem anderen Menschen („Iceberg“, Vanta Marvroeidi,Griechenland) und die Stadt in ihrer vielfältigen Gestalt.
Erzählen, Reden, Sprache und Sprachlosigkeit wurden in verschiedenen Nuancen in dem Video von Klitsa Antoniou, Zypern, „Experimental Storytelling“ und Gökca ER, Türkei, „All is mine“ untersucht. In „All is mine“ agieren nur die Hände vor schwarzer Fläche in der Zeichensprache für Taubstumme. Man kennt ähnliche Bewegungen, hat sie aber nie mit Sprache in Verbindung gebracht. Also ein Video in strenger Form mit überraschender Erkenntnis.
Die Stadt ist Thema von drei außerordentlichen Videos: Die gefährliche Luft der Industrieanlagen hat Matja Debeljuh, Kroatien, in „The City of Steel“ thematisiert und dabei dokumentiert, dass diese Stadt tot ist, wenn kein Feuer mehr brennt und kein Stahl mehr produziert wird. Der Teufelskreis: „The City of Steel“ produziert und tötet oder stirbt selbst.
Eine Erinnerung an Sarajevo hat Nora Lefa, Griechenland, Frankreich, aufgezeichnet: Sie verwandelt dabei die Architektur der Stadt in fragile weiße Gerüste, durch die die Kamera scheinbar hindurchfahren kann. Der Kenner von Sarajevo meint Architekturen wiederzusehen, aber die zarte Zeichnung entzieht sich einer präzisen Bestimmung, so wie die Erinnerung immer nur ein ungefähres Bild des Vergangenen zeichnen kann.
Mit ihrem preisgekrönten Video „Skyline Memory“ führt Beatriz Ruibal, Spanien, von der Architektur wieder zurück zu den Menschen, die hinter den Fassaden wohnen. Die Künstlerin hat mehrere bekannte Architekturen ausgewählt, an denen die Kamera langsam von unten nach oben hochfährt, was bewirkt, als ob diese Architekturen versinken. Während der Kamerafahrt werden Texte von Beatriz Ruibal und anderen Autoren zitiert, die sich mit dem Leben hinter den Fassaden beschäftigen, mit dem Leben des Individuums in der Masse der Menschen in einem Wolkenkratzer. Mensch und Natur ist Thema des Videos „Der Wind und das Buch“ von Eugenia Gortchakova. Ein Buch des Philosophen Karl Jaspers, der dieses Thema intensiv untersucht hatte, liegt am Ufer eines Wasserlaufs und der Wind blättert darin, als ob er darin lese, bis er schließlich das Buch zuklappt. In ihrem zweiten Video hat die Künstlerin Antworten auf die existentielle Frage „Wofür würden Sie sterben?“ gesammelt, eine Frage, die zwanzig Jahre nach dem Krieg in Sarajevo unter die Haut gehen kann.
Zwei Ausstellungen wurden in dieser Woche geöffnet: Alfred Freddy Krupa, Kroatien, zeigt in der Galerija Preporod „Moderne europäische Pinsel-Malerei“ und Almin Zrno, Sarajevo, stellt in der Galerija Novi Hram Akt-Fotografie aus.
Alfred Krupa hatte 1998 ein Stipendium an der Tokyoer Universität Gakugei erhalten und japanische Tuschmalerei studiert. Eine Auswahl stellte er jetzt in Sarajevo vor: Der japanische Einfluss ist unverkennbar in der Linienführung und im Lauf des mit Farbe gesättigten Pinsels. Auch in der Differenzierung des Schwarz zu feinen Grauwerten ist die Erinnerung an japanische Meister unübersehbar. Aber zuweilen löst sich Krupa von der Bindung an gegenständliche Formen, an Baum, Strauch und Wege und gewährt dem Pinsel freien Lauf zu einem Pinselschwung, der damit eine Nähe zum europäischen Informel andeutet. In gewisser Weise ist Krupas Malerei eine Brücke zwischen der japanischen und der europäischen Tuschmalerei.
Die Modulation des Schwarz ist auch Kennzeichen der Aktfotografie von Almin Zrno. So ausgeprägt Körperhaltung und Gestik der Aktfiguren auch scheinen, der Künstler nutzt Tuch, Umhang oder Teppich, um über die Körperkonturen hinaus eine Form zu finden, die den Körper umschließt, ohne ihn zu verhüllen. Diese Spannung zwischen erotischem Zugriff auf den Körper und Distanz charakterisiert die Aktfotografie von Almin Zrno in dieser Ausstellung. Wesentliches Mittel ist dabei die Ausleuchtung der Körper, die feinfühlig gleichfalls prägt und verhüllt, anbietet und verweigert.
Das 32. Festival Sarajevo Winter bot 2016 spannende Kunst.
Jürgen Weichardt
Jürgen Weichardt Kaiserstr. 7 D-26122 Oldenburg, Germany
Contemporary Art at the 32.Festival Sarajevo „Winter“ 2016
In the week of 13th to 20th of march 2016 the main emphasis of he festival was put on the presentation of videos from artists of whole Europe und of exhibitions of painting and fotografy.
The videos were shown in the upper floor of the Ars Aevi Museum Depot, where the screen was hanged between the windows, so that the viewer had the possibility to look at the hills of the lighted town. In this way Sarajevo was permanently participating in the video- presentation. Not for all, but for some videos this ambiente was a further kick which one could not get otherwhere.
13 artists of Europe were invited with their videos of 3 till 10 minutes. In a special way two chapters of life in the modern world were the main themes – the subjective existential situation of the individuum, his loneliness and possible escape into the relationship to another person („Iceberg“, Vanta Marvcoeidi, Greece), and second: the city in its various forms.
To tell, to speak, language and speechlessness were examined in different nuances in the video of Klitsa Antoniou, Zyprus, „Experimenteal Storytelling“ and „All is mine“ of Gökce ER, Turkey. In „All is mine“ only two hands can be seen in front of a black space, acting in a sign language for deaf mute. Each visitor knows similar movements of hands, but they were never related to sign language. Perhaps they had underlined a speech. So Gökce’s video has a strongly concentrated form with a surprising insight.
The city was theme of three extraordinary videos: In „The City of Steel“ Matja Debeljuh, Croatia, shows the contrast of steel, the masses of clouds of the dangerous air, which appears by producing steel. The video documents that the city of steel is dead when the production will be finished. It is the devil’s circle that the city of steel only lives by producing deadly air.
In her video „Memoria Sarajevo“ Nora Lefa, Greece, France, has put the architecture of the city into a fragile structure of white lines, through which the camera can go easily. Who knows Sarajevo may think to recognize some architectures, but the delicate drawing refuses each precise definition like the memory can also give only a cetain impression oft he past.
With her excellent video „Skyline Memory“ Beatriz Ruibal, Spain, comes back from architecture to people, who live behind the facades. The artist has chosen some wellknown buildings, on which the camera slowly goes up from the bottom to the roof, what gives the impression as if the architecture is sinking. During the camera-drive textes of Beatriz Ruibal and other authors are quoted about the life behind the housewalls, about the life of the individuum in the mass of people in those skyscrapers.
Mankind and nature is the theme of the video „The Wind and the Book“ of Eugenia Gortchakova, Germany, Russia. A book of the philosopher Karl Jaspers, who had worked intensively with this theme, lies on a bank of a small river and the wind works with the pages as if it would read in the book until it closes it. Nature works with mankinds product. In the second video Eugenia Gortchakova has collected answers of the existential question „Whatfor would you die?“, a question which can get under one’s skin twenty years after the war in Sarajevo.
Two exhibitions were opened in this week: Alfred Freddy Krupa shows at the Galerija Preporod „Modern European Brush Painting“ and Alim Zrno shows fotografy in the Galerija Novi Hram.
Alfred Krupa, Croatia, got in 1998 a scholarship at the Tokyo Gakugei Univerity and studied Japanese painting. A chosen collection he presents in Sarajevo. The Japanese influence is obvious in the lines and in the way the brush paints trees and landscapes. Also the differenciation of grey minds of the Japanese masters. But sometimes Krupa solves himself from the connection to landscape and nature forms and he gives the brush free movements which seem to be near the European informel. In a certain way Krupas work is a bridge between Japanese and European painting of today.
The modulation of black is also a speciality of the act-fotografy of Alim Zrno, Sarajevo. So markant posture and gesture of the models seem to be the artist uses textile, capes, cloth and carpets to come to other contours than those of the body. The textile materials can surround the body without covering it. This suspense between erotical access on the body and distance characterizes the act-fotografy of Alim Zrno. Important medium hereby is the light which very sensitively forms and covers, offers and refuses.
The 32nd Festival Sarajevo Winter 2016 has shown remarkable art.
Jürgen Weichardt
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