Holocaust Art

Emblem of SufferingWarsaw Ghetto Boy Photograph

1943

The above photo is one of the most iconic images of the Holocaust. Whilst the identity of the German SS man pointing the machine gun is known, that of the little boy is not, although some of the other people captured in this photograph have been identified. The photo was included in the infamous “Stroop Report – The Warsaw Ghetto no longer exists.”

“We need not restrict ourselves to the artist’s conscious intentions, but we must also be careful not to try to make a painting express anything we wish it to. The evidence for our reaction must lie within the painting itself.”Professor Lawrence L. Langer

“A painting is a visual text. In literature we are faced with a written text, in most cases drafted in familiar words because we speak the language (assuming that the work is in English) that appears on the page. The characters we meet in literature are usually recognizable human beings even though we can't see them, and we can understand their dialogue because we have often heard speech like theirs before.

Looking at a painting requires a different set of expectations. An author can describe a landscape or the setting for a scene, but an artist tries to reproduce a version of it so that we can see it with our own eyes. This raises issues unique to painting, questions of color, shape, texture, size (since an artist is limited by dimensions of his canvas), the relation of one group of figures or objects to another, all finally coalescing into what we call the style of the work. .”Professor Lawrence L. Langer

Interpreting works of art

Icon of Loss - Audio tour led by Bernie Pucker - Part I

Icon of Loss - Audio tour led by Bernie Pucker - Part II

Samuel Bak: Painted In Words

1. The Boy in the PhotoThere are four possible identities for the little boy held at gunpoint.

1.1. Artur Dab Siemiatek

This was advanced as early as 1950, but documentation was first found in 1977 - 78. One source was responsible for making the claim, a woman named Jadwiga Piesecka, who was a resident of Warsaw. According to a statement she signed on 24 January 1977, the boy in the photograph was named Artur Siemiatek born in Lowicz in 1935. He was the son of Leon Siemiatek and Sara Dab, and the grandson of the signatory’s brother, Josef Dab. A similar attestation was signed the following year in Paris by Jadwiga Piesecka’s husband, Henryk Piasecki, dated 28 December 1978.

1.2. Tsvi Nussbaum In 1982, a 47 year old ear, nose, and throat specialist in Rockland County, New York, came forward with the

statement that in 1943, at the age of seven, he had been arrested in Warsaw and ordered to raise his hands by an SS man standing in front of him and aiming a gun at him. Although he could not recall that a photograph was taken, Dr. Nussbaum believed that he might be the child in the picture. Tsvi Nussbaum expressed uncertainty that he was the boy in the photo, whilst others say that it is him. There are indeed two specific factors that weigh heavily against him being that boy. The first is that although he was arrested in Warsaw, he had never set foot in the ghetto. The second is the date he was arrested. Tsvi Nussbaum clearly remembers that he was arrested on 13 July 1943. This was nearly two months after the "Stroop Report" is thought to have been completed and sent to Himmler and Krüger. In the early 1930’s Nussbaum’s parents emigrated from Poland to Palestine, where Tsvi was born in 1935. When conflict broke out between the Jews and Arabs in Palestine, the Nussbaum family returned to Poland, settling in Sandomierz in 1939.

By 1942 Tsvi Nussbaum’s parents had been murdered by the Nazis, and he was brought from Sandomiercz to live with an aunt and uncle, in hiding, in the Aryan section of Warsaw. They looked after him for six months, but were caught in a Gestapo trap. The Nussbaums joined hundreds of other desperate Jews at the Hotel Polski and were put on the Palestine list. On 13 July 1943, trucks came to take them away, not to Palestine, but to the KZ Bergen Belsen. At the concentration camp they were housed together in a special barrack, given better food and not forced to work.

If the boy in the photo is Tsvi Nussbaum, then the picture would have to have been taken at the Hotel Polski, and not within the Warsaw Ghetto, where all of the photos from the "Stroop Report" are generally thought to have been taken.

Dr. Lucjan Dobroszycki was quoted in a New York Times article, expressing doubts about whether Tsvi Nussbaum is the boy in the photo, for the reasons set out below:

"The scene," he noted, "is on a street, not in the courtyard in which the Hotel Polski roundup took place. Some of the Jews are wearing armbands that they surely would have shed while in the Aryan quarter of Warsaw. The German soldiers would not have needed combat uniforms at the hotel. The heavy clothing worn by most of the Jews suggests that the photograph was taken in May – the date General Stroop put on the report – rather than July. Moreover every other photograph in the "Stroop Report" was taken in the Warsaw Ghetto."

Tsvi Nussbaum commented:

"I am not claiming anything – there’s no reward. I didn’t ask for this honour. I think it’s me, but I can’t honestly swear to it. A million and a half Jewish children were told to raise their hands.“

Finally, with the help of someone trained in photo-comparison, Dr. K.R. Burns, a forensic anthropologist at the University of Georgia, compared the famous photo, with a passport photo of Tsvi Nussbaum taken in 1945, and stated the following:

"Having examined the two photographs, although the mouth, nose and cheek are consistent, there is one important disparity; the ear lobes on the 1943 boy appear to be attached, whereas the earlobes of the 1945 boy are not attached. This generic trait cannot change with age and the difference indicates the pictures are not of the same boy."

The entrance of the former Hotel Polski at 29 Dluga Street has been compared to the 1943 photo, but it is difficult to see whether it is the same building.

1.3. Levi Zelinwarger Avrahim Zelinwarger, aged 95, contacted the Ghetto Fighters House in Israel in late 1999. He informed the

museum that the boy in the photograph was his son Levi. As a result of that contact, the following information now accompanies the well known photograph, in the GFH archives:

According to the testimony of Abraham Zelinwarger of Haifa, the boy is his son Levi, 1932 - ? and he suggests that the photograph was taken in the ghetto on Kupiecka Street, near Nalewki Street. The father, a ladies hairdresser by profession, worked at forced labour clearing rubble and damage at a burned out gas installation in Warsaw, and escaped to Soviet territory at the beginning of 1940.

Avrahim Zelinwarger was telephoned by Richard Raskin, who was then told that the woman next to the boy is the boy’s mother, Chana Zelinwarger.

Avrahim Zelinwarger believed that his wife, his 11 year old son Levi, and his 9 year old daughter Irina, all perished in a concentration camp in 1943.

1.4. An anonymous SurvivorA London business man contacted The Jewish Chronicle in 1978, claiming that he was the little boy, not Artur Siemiatek. The man who contacted the paper asked that his name be withheld. In his statement he claimed the photograph was taken in 1941, and that he remembered he was not wearing any socks at the time; both claims are without doubt incorrect so far as the photograph under discussion are concerned.

Hanka Lamet Matylda Lamet Goldfinger Leo Kartuzinsky Golda Stavarowski

2. Other Jews Identified in the Photograph

In a Yad Vashem page of testimony, number 90,540 completed in 1994, the little girl at the far left of the photograph was identified as Hanka Lamet by her aunt, Esther Grosbard-Lamet, a resident of Miami Beach (Florida). The same document lists 1937 and Warsaw, as the year and place of the little girl’s birth while the place and circumstances of her death are listed as "Majdanek - taken to Gas Chambers".

The USHMM (The United States Holocaust Memorial Museum) website also indicates that the woman standing to the left of the little girl is her mother Matylda Lamet Goldfinger.

The boy carrying the white sack near the rear of the group shown in the photograph, was identified as Leo Kartuzinsky by his sister, Hana Ichengrin, according to an email from Yad Vashem received by Richard Raskin. According to USHMM, the woman at the back right was identified as Golda Stavarowski by hergranddaughter Golda Shulkes, residing in Victoria (Australia).

3. The SS Man: Josef Blösche

The one person in the photograph whose identity has been established beyond any doubt is the SD soldier aiming his sub-machine gun in the direction of the little boy. He was SS-Rottenführer Josef Blösche, a most feared predator, who was often teamed up with SS-Untersturmführer Karl–Georg Brandt, and SS Oberscharführer Heinrich Klaustermeyer, to terrorize the occupants of the ghetto on hunting expeditions, randomly killing whomever they chose.

Blösche was born in Friedland (former "Sudetenland") in 1912, and after joining the SS, saw service in Platerow as a guard patrolling the River Bug. In May 1941 he was transferred to the SS post at Siedlce. Following service in an Einsatzgruppen unit in Baranowitchi, he was transferred to the Warsaw Security Police, where he took part in the suppression of the Warsaw Ghetto Uprising in April 1943 and the Polish national uprising in August 1944.

Upon arrest Blösche made the following statement: "I have looked at the given photocopy. Concerning the person in the SS uniform, standing in the foreground of a group of SS members and holding a sub-machine gun in firing position and wearing a steel helmet with motorcycle goggles, this is me. The picture shows that I, as a member of the Gestapo office in the Warsaw Ghetto, together with a group of SS members, am driving a large number of Jewish citizens out from a house. The group of Jewish citizens is comprised predominantly of children, women and old people, driven out of a house through a gateway, with their arms raised. The Jewish citizens were then led to the so-called Umschlagplatz, from which they were transported to the extermination camp Treblinka."

Signed Josef Blösche

Blösche provided another statement at a subsequent interrogation:

"I now recall a shooting of Jewish citizens in the Warsaw Ghetto. This took place at a time when there was no transportation to the extermination camp Treblinka. Brandt gave each of us at the SD office in the ghetto a small box of pistol ammunition.

Beside me there were Rührenschopf, Klaustermeyer, and other Gestapo members, whose names I do not know any longer today. Brandt led us into the middle of the ghetto. I can no longer remember the exact time, I know the shooting took place in a courtyard, which one entered from the street through a gateway. Beyond that I still know that during the shooting, a truck carrying Jewish citizens drove by. At that moment, I was standing at the entrance to the courtyard. How many Gestapo members were there I can no longer say exactly, it could have been 15 to 25.“

Signed Josef Blösche, Berlin, 25 April 1967

For his dedication and zeal during the Warsaw Ghetto Uprising, Blösche was awarded the Cross of War Merit 2nd Class with Swords.

During his trial in Erfurt in April 1969, Blösche was found guilty of war crimes, including the participation in the shooting of more than 1,000 Jews in the courtyard of a building complex on the morning of 19 April 1943. He was executed by a shot to the neck in Leipzig on 29 July 1969. Blösche was 57 years old.

Sources: Richard Raskin. A Child at Gunpoint. Aarhus: Aarhus University Press, 2004 Helge Grabitz and Wolfgang Scheffler. Letzte Spuren. Berlin: Edition Hentrich, 1988WDR TV Documentary (by H. Schwan). The SS-Man Josef Blösche. 2003

© ARC 2006

The Sowers by Thomas Hart Benton, 1942. One of a series of eight paintings in which Benton portrayed the barbarity of fascism.

Threesome (1944)by Felix Nussbaum (1904-1944)Oil/Canvas, 100x80cm

In Threesome, painted in January 1944, Nussbaum portrays himself as a pious Jew in hiding with his wife Felka and his son Jaqui.

The triangular composition is reminiscent of renaissance sacral art. The painter identifies himself fully with the religion to which he was thrown back as a result of the persecution by National Socialism, whereas his wife merely endures the situation.

Felix Nussbaum describes here in one of his last pictures the situation of all those persecuted which lies somewhere between fear of death and vague hope.

Self-Portrait (1940)by Felix Nussbaum (1904-1944)Oil/Canvas

Self-Portrait with Jewish Identity Card (1943)by Felix Nussbaum (1904-1944)

Triumph des Todes (Death Triumphant) (1944)by Felix Nussbaum

His last painting dated Tuesday, April 18, 1944, Death Triumphant, is extensively prepared for with numerous sketches of various skeletal figures, each beautifully draped, playing or holding musical instruments. These drawings are arguably some of the most moving and devastating images of futility ever produced. The dead mock the living with mankind's pathetic culture, music played with no one left to listen. The quest for life is snuffed out in the whirlwind of anti-Semitic hate.

Studies for Death Triumphant (1944)pencil, gouache and watercolor on paper

Camp Synogue (1941) by Felix Nussbaum Oil on plywood

Four men wrapped in prayer shawls stand praying near a desolate shack. The make- shift synagogue at Saint Cyprien concentration camp, was located in the French Pyrenees where Nussbaum was held as a prisoner. To the right, a man stands alone. The lone man may be Nussbaum himself, who was ambivalent about his Jewish identity, like many young men of his time. Arrested for being Jewish, Nussbaum moved back hesitantly to his Jewish heritage. A gray gloomy sky fills the background, and a black cloud blocks the sun for the Morning Prayer, while ravens hover overhead. In the foreground are scattered a shoe, an empty tin can, a bone, and some barbed wire, all of which are symbols of the harsh conditions at the camp. Nussbaum managed to escape, and lived in hiding in Brussels until he was caught in 1944 and sent to Auschwitz, where he died.

The painting was given to Pope Benedict XVI on the occasion of his visit to Yad Vashem during his pilgrimage to the Holy Land, on May 07, 2009 in Jerusalem.

The Food of the Dead for the Living by David Olère. 102x76 cm,A Living Memorial to the Holocaust, New York.

Olère collects food, abandoned near the undressing rooms of crematorium III at Birkenau, so he can throw it over the fence to the prisoners at the women's camp.

Priest and Rabbiby David Olère.162x131 cm

A Living Memorial to the Holocaust, New York.

In the background left, the SS Moll throws women into the burning pit close to crematorium V. On the right, four prisoners carry a barrel of soup past a crematorium (II or III).

Arrival of a Convoyby David Olère.65x50 cm,

A Living Memorial to the Holocaust, New York.

A new convoy arrives in the background as inmates struggle with a cart carrying away cadavers from a previous convoy.

Punished in the Bunkerby David Olère 46x61 cm, Yad Vashem Art Museum, Israel.

The cell was so narrow that Olère was unable to sit, stretch or lie down for the 48 hours of his punishment.

Gassingby David Olère 131x162 cm,

A Living Memorial to the Holocaust, New York.The container in the lower right is labeled Zyklon B. Although Olère spent most of his time doing art for the SS and translating BBC radio broadcasts, he was, from time to time, called upon to help empty the gas chambers.

The Experimental Injection by David Olère. 1945, 92x72 cm,

A Living Memorial to the Holocaust, New York.

The infamous Dr. Mengele administers an injection as terrified prisoners look on.

Unable to Workby David Olère. 131x162 cm, A Living Memorial to the Holocaust, New York.

Inability to work was often an immediate death sentence. In the background of this painting, smoke rises from the crematorium to form the SS insignia.

Remembering the Holocaust,By Aba Bayefsky oil on canvas

His personal reflections on what he saw half a lifetime ago were the inspiration for a series of works collectively entitled Epilogue, completed between 1988 and 1994. This series consists of 22 drawings, 17 watercolours, and 2 conté drawings which reflect on the nature of the Holocaust.

In Memory of the Holocaust by Josef Elgurt, 1994, sepia-drawing (71 x 46 cm).

Elgurt was born in Kishinev, Moldova. He was imprisoned in Nazi ghettos in Moldova, Ukraine, and Romania. The original is on permanent loan to the Jewish Museum of Riga.

Self-Portraitby Samuel Bak. 131x162 cm, is one of the chilling pieces in the film "As Seen Through These Eyes," which documents Jewish and Gypsy artists who were spared during the Holocaust, but were required to paint for their Nazi captors. (Courtesy of Menemsha Films )

Interpreting Samuel Bak’s Self-PortraitProfessor Lawrence LangerBak's "Self Portrait" is a portrait of the artist as a young boy, though the experiences he has gone through have hastened his journey toward maturity. Among the many crimes the Germans committed against the Jewish future was the murder of more than a million helpless children. This painting is a vivid reminder of the dilemma that is a vexing if paradoxical birthright of that crime: no one's survival can be detached from the loss of someone else. The boy sits in a sack as if emerging from a cocoon of death, though only those aware of the artist's personal ordeal will be able to grasp the visual allusion, which seems allegorical but is not. Sent with his wife and son from the Vilna ghetto to a labor camp nearby, Bak's father first saw his wife escape to a secure hiding place, then hid his son in a sack which he dropped unobserved from a ground floor window of the warehouse where he was working. Through a pre-arranged plan the maid of a relative who was raised and living as a Christian in the city picked up the ten-year-old boy and took him to a safe haven. The memory of that moment helps turn his expression inward in the portrait, making him virtually oblivious to his external surroundings.

The content of this painting thus violates our expectation of what its title usually intends. The boy who grew up in pre-war Vilna with an intact family is not the same as the one who survived the catastrophe of the Holocaust remembering a ruined community that included the murder of his father and four grandparents. That event has shattered the notion of a unified self. Unlike traditional self-portraits, the center of Bak's picture is dominated not by the face of a living boy but by the replica of a dead one, taken from one of the most famous photographs to emerge from the disaster. That photo depicts a frightened child, hands raised, being removed by Germans at gun point together with other Jews from what must have been a hidden bunker in the Warsaw ghetto. His is a "counter-portrait," though the two likenesses are really inseparable, since the fate of the boy who was Bak is intimately linked to the doom of the victim--it might easily have been the young Bak's doom too--whose image is imprinted on a crude assemblage of wooden panels. With his hands raised and one bloody palm pierced by a nail, the patched fragments of a Jewish star on his breast and a cross not far from it, the boy need only extend his arms to assume a cruciform gesture, and indeed Bak has called this image a kind of Jewish crucifixion. There is a certain amount of irony to this implication, since the Jews enjoyed neither salvation nor resurrection from their suffering. The atrocity of the Holocaust unleashed present ambiguities, not future meanings, and the living boy holds in his hand only a paintbrush, an instrument that will led him into the future through art rather than belief.

This is not to say, however, that Bak is immune to the Jewish origins of his subject. By the boy' feet lies a scroll, image of a damaged Torah, the source of Jewish law. Before him lie strewn blank pages of parchment, awaiting inscriptions that will restore the law and at the same time rewrite its history to include the disaster of the Holocaust. The pebbles and small stones that lie on them recall the Jewish custom of placing such tokens on the gravestones of family members when visiting the cemetery as signs of respect for the dead and in indication that they have not been forgotten. In the distance a city in flames and twin smokestacks pouring smoke are further reminders of the annihilation that the boy has survived.

As a counterbalance to this devastation on the other side of the painting looms a giant blank canvas on an easel, a harbinger of the future challenge that the boy artist will confront as he tries to find visual representations for the past now locked in internal memory. Specific hints of that challenge are embodied in the various cutouts of the boy with his hands raised, suggesting that any future "portraiture" of the disaster will require multiple versions, just as the "Self Portrait" we have been examining could not be confined to a single face.

This portrait of a boy vividly aware of the fate of his family as well as the entire Jewish community may profitably be compared with "The Family," whose members have been touched by the threat of violence but are not yet conscious of its details. Similarly, "Beyond the Trees" sweeps away the natural camouflage that protects us from confronting the worst and exposes us to the imagery of death that lies at the heart of what we call the Holocaust. The absence of human figures shifts much of the responsibility for interpreting the scene before us to the viewer, who cannot share this dilemma with the people being portrayed. And finally, the purely symbolic chess painting which banishes concrete historical reference from the scene and substitutes chess pieces for people demands a different kind of response, since it raises the issue of conflict to a more sophisticated level of discourse. Here both artist and viewer enter into a more complex dialogue about meaning and intention, inviting the imagination to take risks while at the same time accepting limits to the adventure of interpretation.

Source

Othyoth (letters) [Samuel Bak]

The Tablets of the Law, a crucial image in this series, now emerge in regal but crumbling splendor. The executioners of the Holocaust have violated one of its central tenets: "Thou shaltl not murder." In that universe of destruction, the Ten Commandments have lost their coherence. Its letters fly from their mooring, floating freely above the barren terrain below. A golden aleph,, glowing with celestial radiance, crowns the painting but nothing is truly whole. The letters are detached from their original sequence, while the solitary aleph, , reminds us that half of the divine name, "El," , is missing.

The source of the discordant visual force of these disintegrating ethical imperatives is implicit in the language of Exodus itself, which with uncanny portent forecasts through its imagery the unforeseen fate of the Jewish people at the hands of the Germans:

Now Mount Sinai smoked all over, since YHWH had come down upon it in fire; its smoke went up like a furnace, and all of the mountain trembled exceedingly. (Exodus 19:18)

Bak refuses to discard the tradition of law that has sustained the Jewish people throughout its many ordeals; but he knows that the unholy fires of Auschwitz and the other death camps have consumed more than the bodies of their victims. An entire structure of belief must be scrutinized anew, as if the stable iconography that once held a community together had to be redesigned to include the volatile shock of mass murder.

Above and Below[Samuel Bak]

Samuel Bak on the apparent theme of Chess, they need to be understood in the glaring light of political realities.

Above and Below presents pawns with wings on a landscape divided by a fragment of a chessboard. The metal wings would encumber the pawn's flight yet the blue pawn hovers above; the white winged pawn is earth bound. Life and Death; Tikkun and Destruction and Evil; Hope and Despair. These contrasting interpretations come to mind.

How do we negotiate through these memories of a past and pretend to know how to respond when confronted by a most uncertain future. If the past is to be our teacher, we must ask what have we as humankind learned? Can we live on earth together in peace? Can we dream together of a universe where our actions will produce reconciliation and respect, or will we be cursed to repeat – on an even grander scale – the travesties of our predecessors?

Ghetto [Samuel Bak]

In Ghetto neither eye nor imagination has any way of escape. The horizon has disappeared from this landscape without vistas; all signs of nature have vanished, too. Holocaust history does not proclaim its message; we must evacuate what we can from the ruins. Sheets of slate have moved aside as if from a tomb, to reveal a star-shaped scar leading into an obscure tunnel lined with the facades of crumbling structures—the former ghetto. Like forlorn Dantes without benefit of Virgil, we are forced to pursue the fate of European Jewry into the threatening depths below the inert stone surface, following a narrow corridor between lifeless brick walls. But our obligation is clear: memory and commemoration allow no other route. Even the pale yellow cloth from Stars of David once worn on victims' breasts points toward the ominous entry-way, as if all energy in the painting were focused on this journey into the heart of holocaust darkness.

And what awaits us at the end? Tiny glimmers of reddish light, like the eyes of demons, or the openings of twin crematorium ovens, beckon from the abyss, an unholy glow that evokes for us the fate of a people. We have the choice of moving the slabs of stone back in place and burying them forever, or accepting the strenuous duty of mining the evidence of their demise and keeping it steady in consciousness for our own and future generations.

Knowledgeable [Samuel Bak]Knowledgeable portrays a limited number of chess pieces – two knights, the queen, the king, numerous pawns. The surface resembles the chessboard, albeit incomplete, and it is placed on top of an assembly of books with selected dice. Are these books histories of wars past? Or battles to come? The dice represent a game of chance and refer to life and survival in the midst of war as a game of odds. The chess pieces are not in proper position for a game of chess but do reflect the disarray that comes with real war.

Destinies [Samuel Bak]The tree in Destinies, supported by crude crutches, is a more wretched than its predecessor in Family Tree. Also resembling Stars of David, its leaves have begun their mutation into another substance, a process common to many of the paintings in this series. Some of them have taken on a metallic sheen, echoing the literal meaning of Magen David—shield or defender of David. This is a wounded tree, maimed by an unequal conflict whose source alert viewers should be well aware of. The remains of a brick wall suffice to remind us of the nature of that violent encounter.The trunk has been sheared from its base, but the stump itself has also been ripped from its native moorings. Torn from the womb of nature, its roots reach out like tiny claws in search of more fertile earth to grasp as its home. A strange portable structure occupies the foreground of the painting, ready to roll somewhere, but with no one to convey it, and nowhere to convey it to. As in Family Tree, a single thin limb sprouts from the stump, its leaves, too, mirroring a slim hope for a transplanted future.A pink shimmer lights the clouds that frame the scene, though one is never sure, here as elsewhere, whether the origin of light is a radiant sun above or sinister flames from below. The green hills, golden leaves, and rich blue sky of Family Tree create a far more vivid impression. Both tree images prompt us to recall the twin sagas of the Jewish people, their beginning in the tale of creation and their near doom in the story of the Holocaust destruction. We know the "whences," but at the pluralized title Destinies implies, the mystery of the "whithers" remains to be solved.

Ancient Memory by Samuel Bak Oil/Canvas

In Memoriam by Samuel Bak Oil/Canvas

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Against the Wall by Samuel Bak Oil/Canvas

Alive by Samuel Bak Oil/Canvas

Identification by Samuel Bak Oil/Canvas

Collective by Samuel Bak Oil/Canvas

De Profundis by Samuel Bak Oil/Canvas

Cumulative Data by Samuel Bak Oil/Canvas

Carrying a Crossby Samuel Bak Oil/Canvas

Crossed Out IIby Samuel Bak Oil/Canvas

Unknownby Samuel Bak Oil/Canvas

In Their Own Imageby Samuel Bak Oil/Canvas

Walled Inby Samuel Bak Oil/Canvas

The Cup was Fullby Samuel Bak Oil/Canvas

From Ashesby Samuel Bak Oil/Canvas

Signal of Identityby Samuel Bak Oil/Canvas

Targetedby Samuel Bak Oil/Canvas

With a Blue Threadby Samuel Bak Oil/Canvas

Hide and Dreamby Samuel Bak Oil/Canvas

The Family Treeby Samuel Bak Oil/Canvas

The former Hotel Polski29 Dluga Street

Felix Nussbaumat work

(1904-1944)

Resource 1: A Holocaust Art ExhibitResource 2: The Warsaw Ghetto BoyResource 3: Othyoth (Letters) Resource 4: GhettoResource 5: DestiniesResource 6: Felix Nussbaum Haus – Life and WorksResource 7: Felix Nussbaum – Catalogue RaisonnéResource 8: Felix Nussbaum 1904-1944Resource 9: Felix Nussbaum WorksResource 10: Bak speaks about himselfResource 11: Chess in the Art of Samuel BakResource: 12: Interpreting a Painting [Samuel Bak’s]Resource: 13: The Arduous Road – 60 years of Creativity

Resources

Assembled by:

A. Ballas