visit
of the Pope
5
Replica of Felix Nussbaum’s Artwork Presented to the Pope
■
The origins of this work of art are found
in an outline quickly sketched by Felix
Nussbaum immediately after escaping to
Brussels from the French internment camp
in Gurs. Here, for the first time, his Jewish
identity took central stage, after many years
of addressing universal subjects. Marked as
a Jew and denied his freedom, Nussbaum
fully comprehended his Jewish affiliation.
A universalist at heart who believed in the
power of art, he was compelled to express his
Judaism through this medium.
The scene: a cohesive group of four men
wrapped in their prayer shawls, standing
in front of a camp barrack that served as a
makeshift synagogue, while a single figure
remains apart. This is likely the artist himself,
hesitating whether to join the service. Does
he too put his trust in the God of Israel, in the
shadow of Whose mercy and salvation Jews
can find comfort? The harsh whiteness of the
prayer shawls is the only highly illuminated
surface in the dominant gloom. Only under the
tallitot does light prevail; yet the enveloping
and protective shawl amplifies the fragility of
one who is searching for God even in a place
where he is denied a house of prayer.
The gray light of the threatening morning
sky, the sun blotted out by a dark cloud, confers
on the painting an apocalyptic aura. Above the
rickety hut, scavenger birds circle above their
prey, indicating Nussbaum’s full understanding
of the impending threat. Similarly, the items
scattered on the sand allude to the struggle
for survival: barbed wire, leaving no doubt
that the synagogue is within the confines of a
concentration camp; a bone and an empty tin
can, symbolizing hunger; and an abandoned
shoe, all that is left of those who once lived.
Felix Nussbaum was born in Osnabrück,
Germany in 1904, and studied art in Hamburg
and at the Berlin Academy of Art. Following
the Nazis' rise to power, Nussbaum refused to
return to his homeland, condemning himself to
life as a refugee. He sought asylum in Belgium
with his wife, the artist Felka Platek, and went
underground after escaping from Gurs. Though
forced to live in hiding, Nussbaum painted many
works expressing his fate as a Jew, as well as
that of his persecuted brethren.
In June 1944, an informant revealed
Nussbaum’s hiding place, and he and his wife
were deported that July on the last transport
from Belgium to Auschwitz, where they were
murdered: the apocalyptic vision in the painting
revealing itself as reality. The paintings he left
behind testify to the Jewish artist’s attempt
to cope with the catastrophe created by the
Nazis. As long as his hand still grasped a brush,
Nussbaum managed to create a document of
breathtaking power for future generations,
confronting the persecution and existential
questions faced by many of his fellow Jews in
those dark days of the Holocaust.
Yehudit Shendar is Senior Art Curator and Deputy
Director of Yad Vashem's Museums Division, and
Eliad Moreh-Rosenberg is an art curator in the
Museums Division.
by Yehudit Shendar and Eliad Moreh-Rosenberg
Camp Synagogue
The enveloping and
protective shawl
amplifies the fragility
of one who is searching
for God even in a place
where he is denied a
house of prayer
■
Chairman of the Yad Vashem Council Rabbi Israel Meir Lau presents a facsimile of Felix Nussbaum’s artwork
Camp Synagogue to Pope Benedict XVI.
Video and full text of Pope Benedict's speech
Video explanation of painting presented to the Pope
Text and scanned copy of letter read during ceremony
Photo gallery
Mini-site of visit of Pope John Paul II in March 2000
Visit of Pope Benedict XI on
www.yadvashem.org
6
education
Exceptional Endeavors
■
“At the Jewish cemetery in Saloniki, I walk
past the headstones, and every headstone tells a
story – about a rabbi, a historian, a seamstress,
a charitable woman, a young man killed in
an accident with a picture of a truck on his
headstone... As the saying goes, ‘Show me your
headstone and I’ll tell you who you were.’”
This description is from the travel journal
of an Israeli naval cadet who sailed to Saloniki
together with 65 of his classmates from the 23
rd
Seamen’s Naval Officers Academy in Acre. The
journey, which included nine days of sailing in
the eastern Mediterranean and a three-day stay
in the picturesque port city, marked the climax of
a unique project combining naval training with
Holocaust studies for the Academy’s 11
th
graders.
The exceptional program, its implementation
and implications earned the Academy a prize
at the 2009 Yad Vashem Award Ceremony for
Educational Enterprises.
For the first time, this year’s awards were
given to educational programs created by
students at institutions for higher learning. Third-
year students at the Michlalah-Jerusalem College
for Women received a prize for developing and
maintaining a learning center for middle-school
students in schools around Jerusalem. The Alon
Shvut State Religious School also collected
an award for a curriculum based on the topic
of Children in the Holocaust. The remarkable
project, spread over an entire school year, was
delivered by a group of students to their peers
in the school. Together with their teachers, the
girls put on a play that seamlessly fused elements
from the stories of Holocaust survivors Uri Orlev,
Martha Goren and Hannah Gofrit.
This year, the category of Educator of the
Year received a facelift and was redefined as a
prize for lifetime achievements in the field of
Holocaust education. The prize went to Anita
Tarsi, who recently retired as the long-time
director of Beit Terezin, in recognition of her
efforts in turning the center into one of the
most important institutions for Holocaust
commemoration in Israel.
Hiding Edith received this year’s prize in
the category of youth and children’s literature.
Author Cathy Kaisar translated the true, poignant
story of Edith Schwalb, hidden in France during
the Holocaust, into a compelling and age-
appropriate prose for younger readers.
In the category of End-of-Year Projects,
the prize was awarded to students in the Film
Department at the Yahud Comprehensive High
School. The remarkable film, based on Ida Fink’s
short story A Game with a Key, used Yiddish
as the language of its characters, which lent it
credibility and integrity.
The prize for an educational curriculum
dealing with the history of French Jews in the
Holocaust was awarded this year to the Ben-
Gurion School in Rishon Letzion. As part of a
three-year program of Holocaust studies, the
middle-school pupils dealt with the unique
features of the Holocaust in France through
the stories of three Holocaust survivors whose
childhoods were spent there.
Among the Prize Donors:
Three Outstanding Educational Curricula
&
Lifetime Achievement in Holocaust Education -
The Najmann Family Trust; Children’s Holocaust
Literature - Sandra Brand, in memory of her
only son Bruno Brand, who perished in the
Holocaust; Outstanding Matriculation Papers
on the Holocaust - The Luba and Mark Uveeler
Foundation; Outstanding Educational Curricula
on French Jewry during the Holocaust - Le
Fondation pour la Mémoire de la Shoah and the
Aloumim Association.
The author works in the Teacher Training Department
at the International School for Holocaust Studies.
by Rinat Ribak-Wagon
Yad Vashem Educational Prizes 2008/9
■
Some 40 educators representing UNESCO-
affiliated schools in 23 countries attended a
special seminar at the International School for
Holocaust Studies in June, in conjunction with
the Israel National Commission for UNESCO.
School Director Dorit Novak explained, “In
accordance with the 2007 UNESCO resolution
to promote Holocaust awareness, we are pleased
to be working with new educators from many
diverse European nations, such as Bulgaria,
Georgia, FYR of Macedonia, Kazakhstan and
Luxembourg.”
Approximately 250 teachers and clergy
from across Europe participated in seminars
at the Yad Vashem’s International School for
Holocaust Studies during April, May and June.
Educators from Russia, Germany, Poland, Great
Britain, Serbia and Lithuania heard lectures and
participated in workshops such as “Holocaust
and the Arts” and “Modern Antisemitism in a
Multicultural Setting.” During these months,
seminars were also held for Russian-speaking
educators – one of them for Yad Vashem seminar
graduates – as well as for Lithuanian, Polish and
German teachers. In May, a seminar for teachers
from Great Britain took place in conjunction
with the Imperial War Museum. In June, the
School held a second seminar for educators for
22 British members of the clergy who teach about
the Holocaust. As every year, School staff also
participated in seminars abroad: in Croatia; as
part of a European Council seminar in Poland;
and in Spain for a seminar on the topic of
“Genocide in the Twentieth Century.”
The author works in the European Department
at the International School for Holocaust Studies.
Global Seminars at the International School
■
Officers from the 23rd Seamen’s Naval Academy
in Acre among the audience at the Yad Vashem
Educational Enterprises Awards Ceremony
■
Anita Tarsi, recipient of the prize for lifetime
achievements in the field of Holocaust education
by Galit Avitan