Author: Dan Mikhman Publisher: Berghahn Books ISBN: 9789653080683 Size: 42.67 MB Format: PDF View: 4811
Historical research on the Holocaust has not dealt evenly with all the persecuted Jewish communities. The fate of the Jews in Belgium has been relatively neglected. Since what little has been published or written is in either Dutch or French, the material has been largely unavailable to readers outside West Europe. This volume is the first of its kind in English. A variety of researchers from Belgium, France, and Israel discuss issues such as the make-up of Belgian Jewry before the war; Nazi anti-Jewish policies; the attitudes of various segements of Belgian society to the Jews before, during, and after the occupation; Jewish strategies and activities for survival; the problematics of reconstruction in the aftermath of the war; the contacts with the Yishuv in Palestine; emigration to the United States; and the policies of postwar commemoration.
Seminar paper from the year 2003 in the subject American Studies - Culture and Applied Geography, grade: 1, University of Hamburg (Kunstgeschichtliches Institut), course: Hauptseminar, 15 entries in the bibliography, language: English, comment: Double Spaced, abstract: "If I perish, don't let my paintings die, exhibit them " While speaking these words in his Belgian exile in 1942, Felix Nussbaum did not know that he had only two more years to live until the terror regime of National-Socialism would murder him and his wife, Felka Platek, in Auschwitz. Being only forty years of age when murdered, the artist seemed to have abandoned all hope after being forced to live in exile and under constant threat of discovery since 1933. Nevertheless, this personal hopelessness did not include the destiny of his artwork, for which Felix Nussbaum cared as long as possible. "The unpainted paintings of Felix Nussbaum demand nothing less than to become visible to the contemplating eye" and so Daniel Libeskind built a museum in Osnabruck to house the largest collection of Nussbaum's paintings as well as to create "a profound place for the encounter of the future and the past and not only a testament to an impossible fate." In July 1998, 54 years after Felix Nussbaum's deportation to Auschwitz, the museum opened its gates to the public. "The Museum without an Exit," as Daniel Libeskind coined his building, challenges the traditional idea of museums as "Temples of Contemplation." Libeskind insists on emotional and physical experiences evoked when entering the museum's space. His difficult building does not allow visitors to be passive spectators, since the museum does not simply offer space for distributing works of art. Rather, Libeskind's building urges people to get closer to the experience of Felix Nussbaum and hence sets new standards in regard of museum-building."
Detailed introduction to realism with 30 photographs plus timeline of most important political, cultural, scientific and sporting events. Body of books contains 35 of most important works with artist biographies.
Author: Glenn Sujo Publisher: New Age International ISBN: 9780856675416 Size: 60.16 MB Format: PDF, Docs View: 534
This book, which accompanied an exhibition at the Barbican Gallery ,London, examines the contribution of artist-witnesses and survivors of the Holocaust to post-war culture, music, literature, theatre and the visual arts. A selection of the graphic works produced in internment, in ghettos, transit and concentration camps between 1939 and 1945 makes up the exhibition's core. The majority of these come from collections in Eastern Europe and Israel. These works are considered alongside artistic precursors and contemporary sources, principally from major collections in the European Community. The book and exhibition seek to re-establish the legitimacy of these works within the narratives of 20th century art history and the expanding field of Holocaust studies. The post-war achievements of a number of artist-survivors is also discussed. Surprisingly, for art produced in the absence of all contacts with the outside world, the art of internment reveals an unusual awareness of visual and iconographic sources and provides a point of entry to a discussion of representational strategies and artistic intention. The discussion leads into a comparison of the drawings with personal testimonies and works of literature, combining original archival research with extensive use of secondary sources.
Markle grasps at the Holocaust, not only from the writings of survivors and academic specialists, but also from his experience as a “tourist” of the Holocaust. He challenges the way we typically think about the Holocaust: them versus us; then versus now; there versus here. He travels across time, place, and subject to ponder the meaning of the Holocaust for contemporary cultures.
This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced – the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum. This book was published as a special issue of Word & Image.