The Sowers by Thomas Hart Benton, 1942. One of a series of eight
paintings in which Benton portrayed the barbarity of fascism.
Photo credit: National Archives and Records Administration.
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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.
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Children as well as adults documented events of the Holocaust through art.
In this child's drawing, Jews are shown under armed guard, being
pushed into a van which will take them to deportation trains. Era: During WWII.
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Laufen (undated), by Josef Nassy (1904-1976), a Black expatriate of Jewish descent
who was one of 2,000 internees with American passports held prisoner in
Germany during WWII.
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1942. Esther Lurie used ink on cardboard to draw this
scene. She described here new deportees arriving
in the ghetto, carrying bundles of their meager
possessions and scrutinized by armed guards.
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Unable to Work by 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.
David Olère: L'Oeil du Témoin/The Eyes of a Witness.  New York: The Beate Klarsfeld
Foundation, 1989, p. 31. Reprinted with permission from the Beate Klarsfeld Foundation.
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By Felix Nussbaum. Born in 1904, he died at Auschwitz in 1944.
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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.  David Olère: L'Oeil du Témoin/
The Eyes of a Witness. New York: The Beate Klarsfeld Foundation, 1989, p.86.
Reprinted with permission from the Beate Klarsfeld Foundation.
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Jews in the Hospital, by Aldo Carpi, 1945. This drawing
depicts the camp hospital. Sick prisoners were brought
here, but there was little the medical staff could do for
them. Most patients died within a short time.
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"Forced Labor - Building a Tunnel" by David Olere, 1945.
Given severely limited food rations, prisoners
were exploited in hard labor, such as the digging
of a tunnel, depicted here in watercolor and
charcoal. Those unable to work were killed.
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Kommando, by Fernand Van Horen. Van Horen was a Belgian survivor
of Esterwegen and Flossenburg concentration camps.
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Normal Life in Flossenburg, by Fernand Van Horen
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Many prisoners in concentration camps portrayed
the events of their lives through art. This drawing
depicts hundreds of Jews marching under Nazi
guard to the gas chamber at Auschwitz.
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Gassing by David Olère. 131x162 cm, A Living Memorial to the Holocaust, New York.
The container in the lower right is labeled Zyklon B. David Olère: L'Oeil du Témoin/
The Eyes of a Witness. New York: The Beate Klarsfeld Foundation, 1989, p. 54.
Reprinted with permission from the Beate Klarsfeld Foundation.
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Memorial Art at Auschwitz--"Zyclon B cans"
Photo Credit: Florida Center for Instructional Technology
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Memorial Art at Auschwitz--Temporary gas chamber used during 1941 and 1942.
Photo Credit: Florida Center for Instructional Technology
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Arrival of a Convoy by 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.  David Olère: L'Oeil du Témoin/
The Eyes of a Witness. New York: The Beate Klarsfeld Foundation, 1989, p. 13.
Reprinted with permission from the Beate Klarsfeld Foundation.
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Memorial Art at Auschwitz--One small section of the "mountain" of shoes on display at the camp.
Photo Credit: Florida Center for Instructional Technology
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David Olère Burying the Remains of Children by David Olère. 32x40 cm, Olère Family.
Olère's first assignment at Auschwitz was as a grave digger of bunker 2. His prisoner number,
106144, is seen both on his shirt and as a tattoo on his left arm. David Olère: L'Oeil du Témoin/
The Eyes of a Witness. New York: The Beate Klarsfeld Foundation, 1989, p. 38.
Reprinted with permission from the Beate Klarsfeld Foundation.
Online Source

Yehuda Bacon (b. 1929), In Memory of the Czech Transport to the Gas Chambers,
1945, Charcoal on paper. A short time following his liberation from Auschwitz,
the sixteen-year-old Bacon drew this portrait of his father who perished in the
death camp. Like a necromancer, Bacon conjures up the thin, exhausted face
and blazing eyes of his father, the disembodied face ascending from the smoke. The image
of the father whose life was ended in the furnaces of Auschwitz is reconstructed by
the son who still remembers the father he was recently separated from. In the lower
section of the drawing, where we would expect to see his father's body, we detect
the crematoria and a body hanging off the barbed wire fence which surrounded the camp.
In the right-hand corner, the artist has added the date and time: 10.VII.44, 22:00 -
marking the exact moment when his father perished.
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Birkenau. Painting of Königsgraben from the ceiling of the penal company barrack at Birkenau.
Photo Credit: Florida Center for Instructional Technology
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Warsaw Uprising Memorial. Detail of insurgent unit.
Photo Credit: Florida Center for Instructional Technology
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Holocaust memorial park in old Jewish quarter of Berlin.
Photo Credit: Florida Center for Instructional Technology
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Detail, Holocaust memorial park in old Jewish quarter of Berlin.
Photo Credit: Florida Center for Instructional Technology
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Muttergruppe by Fritz Cremer (1906-1993). Bronze.
Located on Dorfstraße on the way to Ravensbrück Camp.
Photo credit: Florida Center for Instructional Technology
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Treblinka. Center monument side view.
Photo Credit: Florida Center for Instructional Technology
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Treblinka. Field of 17,000 stones, representing the lost Jewish communities.
Photo credit: Florida Center for Instructional Technology.
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Haunting Memory 3. From A Triptych by R. A. Beecroft MA, The Nottingham Trent University.
Here are lines of hanging people overlain on the pile of false teeth. Here is a line of
survivors standing, staring between the teeth and a mound of spectacles. Here is a pile of
ashes of industrially murdered people. There is the mouth of a Russian, talking about what they
discovered: seven tons of women's hair. Survival was such a matter of chance;
it is literally dreadful that survivors should have felt guilty.
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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. ©1994 Josef Elgurt. Used with permission of the artist.
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A view of the International monument by Yugoslav sculptor Glid Nandor, 1968.
Nandor spent time in a forced labor camp during the war and later fought with
the Yugoslav partisans. Other memorials by Nandor may be seen at the Mauthausen camp
and in Subotica.
Photo credit: Florida Center for Instructional Technology.
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