The First Art Newspaper on the Net   Established in 1996 Saturday, April 4, 2020


New exhibition features eyewitness drawings made during Holocaust by daring artists who risked all
Vincent Brauner, Lodz Ghetto Bridge, c. 1940 – 1943. 10 3/4 in x 14 7/8 in. Pen and ink, watercolor, and conté on paper adhered to wood. Gift of Elizabeth, Gail, and Sandy Peters, Museum of Jewish Heritage – A Living Memorial to the Holocaust, New York


NEW YORK, NY.- The Museum of Jewish Heritage – A Living Memorial to the Holocaust announces the opening of a special exhibition featuring drawings made during and shortly after the Holocaust by eyewitnesses documenting their experiences. Rendering Witness: Holocaust-Era Art as Testimony is curated from the Museum’s collection and features a majority of artworks never presented before. The exhibition is on display from January 16 to July 5, 2020 at the Museum located in Manhattan’s Battery Park City.

“Rendering Witness is a very special opportunity to see the first-hand experiences of the Holocaust as depicted by individuals who lived through its horrors. The artists, which include a young girl, took great risks to make this art. These were tremendous acts of bravery and resistance. That these fragile works have survived is a testament to the human spirit,” said Jack Kliger, Museum President & CEO.

Each artwork reasserts the artist’s humanity and individuality, qualities that are often obscured by the iconic Holocaust photographs taken by the Nazis or their collaborators. The works were produced in Czechoslovakia, Germany, Hungary, and Poland during the Holocaust, primarily in ghettos and a slave labor camp, or immediately after the Holocaust. The artists documented the Holocaust as it unfolded around them, providing a unique personal layer to the visual culture of World War II.

Some of the art depicts iconic scenes of the Holocaust, such as ghetto topographies and deportations, while other works are more introspective and include portraits of fellow prisoners and views from cramped bunks.

All of the drawings in Rendering Witness: Holocaust-Era Art as Testimony are in the collection of the Museum of Jewish Heritage – A Living Memorial to the Holocaust. The exhibition includes 21 artworks, 14 of which have never before been on display. The works are primarily on paper, with two on photographic paper, and made with pencil, colored pencils, ink, watercolor, wash, and Conté crayons.

This special exhibition was inspired by an external inquiry. The Drawing Center in New York requested to see what drawings were in the Museum’s collection to possibly borrow for a show. As Curatorial Associate Michael Morris went through the Museum’s collection, he realized there was potential to make an exhibition focused on art.

“The art on display in Rendering Witness demonstrates that every victim of the Holocaust has a personal story. We see a legacy from people who, under dire circumstances, were able to artistically document the Holocaust in their respective places, which includes the Lodz Ghetto, the Terezin Ghetto, Soemmerda slave labor camp, or immediately after the war,” said Michael Morris, who curated the exhibition.

The exhibition includes works by two well-known artists, Helga Weissova and Alfred Kantor. Three other artists featured – Jo Spier, Alfred Lakos, and Vincent Brauner – all had careers before the Holocaust.

Eleven of the 21 artworks were made by people interned in Terezin. Some of these works were created by professional artists who were assigned to the Technical Department (which made plans and drawings of Terezin for official use) or the Workshop for Arts and Crafts and Utility Painting. This gave them access to art supplies. Peter Loewenstein was a trained engineer; Johann Eisler studied art before the war; and Jo Spier was a well-known cartoonist and illustrator.

Helga Weissova, who is now in her 90s and lives in Prague, was sent to Terezin at age 12. A budding artist, she brought art supplies with her, and these lasted the time of her internment. Weissova was able to smuggle a drawing to her father Otto, who was housed in a different barrack. He advised her, “Draw what you see.” Weissova followed this advice and produced more than 100 drawings.

A prisoner in Terezin, Martha von Peci worked as a housekeeper in Barracks L 126 and L 128 and collected art, poems, and inscriptions in a book from fellow prisoners housed within. This book is on display.

Among the other works on view is a drawing by an unknown artist that shows when the Nazis deported over 15,000 Jews who were children, elderly, or sick from the Lodz Ghetto to Chelmno death camp in September 1942.

Drawings by Marvin Hayle are outliers in Rendering Witness. Hayle was a member of the 104th Infantry Division in the United States Army, which arrived at Nordhausen concentration camp in 1945 to find few prisoners and thousands of corpses. Shocked by what he saw, Hayle immediately began to draw.

One of the many compelling attributes of these works on paper is that they even endured. Rendering Witness features a mixture of works by people who survived and people who perished during the Holocaust.

Before deportations, some of the artists gave their artwork to friends and family for safekeeping. Peter Loewenstein gave his artwork to his mother. He was murdered in Auschwitz. Johann Eisler gave his artwork to his girlfriend. He was murdered in Flossenberg concentration camp. Helga Weissova was deported from Terezin to Auschwitz, she gave her drawings to her uncle, who hid them behind a wall in Terezin. The drawings were therefore preserved and handed back to her after the war

In Soemmerda, a sub-camp of Buchenwald, a woman named Manci Anis secretly drew both prisoners and members of the SS with any paper she could find. She also drew portraits of fellow prisoner Susan Weiss, who kept them concealed beneath her uniform and mattress. Weiss survived. The fate of Anis is unknown.

The Nazis deported Alfred Kantor to Auschwitz in 1943, and while there he memorized scenes during the day, which he drew in his barrack at night. A Jewish physician assigned to the camp infirmary allowed Kantor to draw there as well, providing him with a tiny watercolor set, putting them both at great risk of severe punishment.

Later deported to Schwarzheide, Kantor continued to draw at night after his work shifts. As part of a death march, the Nazis sent him back to Terezin. Although some of the art he made during the war survived, Kantor destroyed most of his drawings immediately after their creation for fear of punishment. Upon liberation, Kantor briefly returned to Prague and then went to Deggendorf Displaced Persons Camp in July 1945. There he had an enormous artistic output that visually detailed his entire wartime experience. This became known as “The Book of Alfred Kantor” and is now on display in the exhibition Auschwitz. Not long ago. Not far away., currently on view at the Museum.

“…I felt obsessed, driven in fact by the overwhelming desire to put down every detail of this unfathomable place [Auschwitz]. I began to observe everything with an eye towards capturing it on paper…”-- Alfred Kantor, 1971










Today's News

February 4, 2020

When the florist isn't enough, the rich go BIG

Teenager kills himself by leaping from the Vessel at Hudson Yards

Charlotte's little book is back where it belongs

The future Museum for Migration de FENIX has acquired complete fragment of the Berlin Wall

Martine Gosselink appointed new Director of Mauritshuis

LiveAuctioneers and ARTA announce auction industry's first integration for streamlined shipping

Rubik's Cube "Mona Lisa" goes on sale in Paris

Leading contemporary artists to headline Phillips' 20th Century & Contemporary Art February Auctions

Exhibition introduces Nancy Spero's work for the first time in Denmark

The Victoria & Albert Museum appoints Duncan Forbes as inaugural Director of Photography

George Steiner, prodigious literary critic, dies at 90

14a presents New York and Tokyo based artist KAITO Itsuki's first solo exhibition in Europe

New exhibition features eyewitness drawings made during Holocaust by daring artists who risked all

Eurydice, a new opera, looks back all too tamely

Private collection of works related to the celebrated poet Lord Byron to be offered at auction in London

Exhibition aims to highlight the originality of artists who live and work in sub-Saharan Africa

Tiffany glass exhibition on display at the Georgia Museum of Art

Cheffins to auction art collection of influential businessman

In Iraq, where beauty was long suppressed, art flowers amid protests

Loris Gréaud installs The Underground Sculpture Park at the Casa Wabi Foundation

Alexei Ratmansky finds a new voice at New York City Ballet

Lihua Tung joins Phillips as Senior Specialist

Garment District Space for Public Art presents an exhibition by Tom Koken

Paintings of the Madonna featured at Allentown Art Museum

Heritage Auctions' January Numismatic Sales exceed $68.8 million

How to Decorate Your Home if You are a Student on a Budget

All about Cigars and smokers

What Are the Exogenous Ketones? How to Get Ketones Supplements

The Best Golf Irons for the 2020 year

Top 5 Indestructible Toys for Heavy Chewers

Top 5 Best Manual Treadmill Reviews of 2020

What to Look For in Order to Find the Best Safes

How to Choose the Best Seat for Your Kayaking Adventure

The Idea of a Perfect Gift

Selecting the Best Dog Collar - Things you Should Know!

What Examples, Features, Contents You Should Include

Increasing your probability of winning in online competitions

The Widespread Economic Effects of the Coronavirus




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful