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Autobiographical charcoal drawing by David Friedman of naked women and children entering the showers at Auschwitz

Object | Accession Number: 1988.182.2

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    Autobiographical charcoal drawing by David Friedman of naked women and children entering the showers at Auschwitz
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    Overview

    Brief Narrative
    Charcoal drawing created by David Friedman (before 1960, Friedmann) in 1964, depicting a scene in Auschwitz-Birkenau concentration camp, where he was sent in late-August 1944. It depicts two long lines of naked women and children entering a doorway marked Bade Anstalt (Bathing Establishment.) Artist's caption: "This is Auschwitz-Birkenau! This camp, like Maidanek, Treblinka, and many others, was destined to destroy Jewish people. Bathing Establishment was posted outside, but it was also used as a gas-chamber. The Nazis enjoyed to fool us. The camp was full of smoke and a horrible odor, but at that time, we had no knowledge, and would never have believed that the smell came from burned human bodies."
    David Friedmann was a successful painter and graphic artist who lived in Berlin from 1911-1938. He was renowned for his portraits drawn from life and became a leading press artist of the 1920’s. In 1933, his prewar career abruptly ended with the establishment of the Nazi dictatorship. In December 1938, he escaped to Prague with his wife, Mathilde, and infant daughter, Mirjam Helene. In October 1941, they were deported to the Jewish Ghetto in Łódź, Poland. In August 1944, the family was separated and sent to Auschwitz death camp, where his wife and child were murdered. He was sent to the subcamp Gleiwitz I, because musicians were sought for a camp orchestra, but Friedmann’s life was saved because of his painting and quick-sketching portrait abilities. The camp was evacuated due to approaching Soviet forces. The inmates were forced on a death march to Blechhammer, where Friedmann was liberated by the Red Army in January 1945. He journeyed to Poland and stayed in Krakow until the war ended in early May 1945. He then returned to Prague and painted the scenes that haunted his memory to show the world and give voice to those who could not be heard. In January 1946, he had his first exhibition of his Holocaust artwork. Friedmann and his second wife, Hildegard, a fellow concentration camp survivor, fled the Stalinist Communists for Israel in 1949. They had a daughter named Miriam, and the family moved to the United States in 1954.
    Artwork Title
    Bathhouse Auschwitz
    Series Title
    Because They Were Jews!
    Date
    creation:  1964 March
    depiction:  after 1944 August
    Geography
    depiction: Birkenau (Concentration camp); Birkenau (Germany)
    creation: St. Louis (Mo.)
    Credit Line
    United States Holocaust Memorial Museum Collection, Gift of Miriam Friedman Morris
    Markings
    front, center of drawing above door, charcoal : BADE ANSTALT / AUSCHWITZ [Bathhouse Auschwitz]
    front, center of drawing to right of door, charcoal : TIEF ATMEN / DAS IST GESUND [Deep breathing is healthy]
    Signature
    front, upper right corner, cursive, charcoal : David Friedman / MARZ 1964
    Contributor
    Artist: David Friedman
    Subject: David Friedman
    Biography
    David Friedmann was born on December 20, 1893, in Mahrisch Ostrau (Ostrava, Czech Republic), part of the Austro-Hungarian Empire. He was the son of Heinrich, a tinsmith, born in 1864 in Kobiernice, and Sophie Rosenblum, born in 1856 in Czaniec. He lived in a modest home with three surviving siblings: Marie, born in 1888, Adolf, born in 1895, and Isidor, born in 1897. In 1911, Friedmann moved to Berlin where he studied etching with Hermann Struck and painting with Lovis Corinth. During World War One, Friedmann served from 1917-1918 in the Austro-Hungarian Army. He was decorated for his work as a combat artist, creating sketches on the frontlines. Following his return to Berlin, Friedmann exhibited at numerous galleries throughout Germany and Czechoslovakia. He achieved acclaim as a painter known for his portraits drawn from life. In 1924, his quick-sketching talent resulted in a secondary career as a freelance press artist for Berlin newspapers and other publications.

    When Hitler came to power in Germany in 1933, Friedmann's prewar career ended. As a Jew, he was prohibited from showing his work and had to close his studio. He was able to make a living painting apartments and renovating buildings, which was permitted because of his Czechoslovak citizenship. In 1937, he married Mathilde Fuchs, born October 17, 1901, and they had a daughter, Mirjam Helene, born September 23, 1938. After the Kristallnacht pogrom on November 9-10 1938, Friedmann and his wife, with their infant child, fled from Berlin to Prague. On March 15, 1939, German forces marched into Prague and annexed the region to the Third Reich. Friedmann created portraits of the governing officials and leading members of the Jewish Community of Prague, such as Jakob Edelstein and František Zelenka.

    On October 16, 1941, Friedmann and his family were deported on the first transport from Prague to the Łódź Ghetto, renamed Litzmannstadt, in German occupied Poland. The Germans controlled the large Ghetto population with tactics such as the public execution by hanging of 18 Jews who tried to escape, a scene witnessed by Friedmann and his family. All Ghetto residents had to work to receive food rations, but death due to starvation and disease were the norm. Friedmann worked in Metall II designing jewelry, cigarette cases, and badges. He also sketched portraits of the leaders in exchange for provisions; otherwise the family would have perished. He created a series of artworks to document their fate and the infernal life in the Ghetto. He also contributed to the “The Chronicle of the Łódź Ghetto 1941-1944” kept by the Jewish Council.

    During the evacuation of the Łódź Ghetto in late August 1944, Friedmann was separated from his family. He was sent, by train on August 29, to Auschwitz-Birkenau concentration camp, where his wife and daughter were murdered. Upon his arrival, on September 2, Friedmann’s arm was tattooed with prisoner No. B-8600. He brought some artwork to show he was an artist, but it had to be discarded upon arrival in Birkenau. Laborers with special skills had a better chance of being sent to labor camps. Artists were not needed, but one day there was a call for musicians. Friedmann passed the audition and was sent to subcamp Gleiwitz I. There he had to compete as a violinist with concert masters, but he wasn't chosen and thus in danger. He painted a mural across the barracks wall that impressed the SS officers and his life was saved. Even though he was forced to create portraits of his persecutors, Friedmann saw his art as a form of resistance that diminished the power of evil and gave him the will to survive. Conditions in the camp were brutal. Meals were a single bowl of watery soup shared by two or three men. Inmates were often beaten, the sick were shipped to Birkenau death camp, and random executions were frequent. On Sundays, inmates had to carry 25 pounds of bricks for three miles. If anyone fell, the guards beat them with their rifles until they got up and finished. These scenes were carved into his memory to tear out at a later time and express in his art. After the Soviets mounted a winter offensive, the camp was evacuated on January 18, 1945. Inmates were forced on a death march to Blechhammer concentration camp. By the end of the march, Friedmann was unable to walk and reached the camp with the aid of the French doctor, Ohrenstein, and two Gruenberger brothers from Slovakia. Friedmann was liberated from Blechhammer by the Soviet Red Army on January 25, 1945.

    None of his family survived. His brother, Adolf, who was married to a non-Jew, Kaethe Niesler, died under suspicious circumstances in a Catholic hospital in Berlin on June 29, 1941. His father had died before the war in 1935. His mother died of starvation on December 11, 1941, in the Ostrava Jewish Home for the Aged. Isidor, his wife Sali, and their two children were deported to Theresienstadt, then to Treblinka, and murdered October 10, 1942. Marie and her husband Eisig Feuer were deported to Theresienstadt, then Treblinka and murdered October 7, 1942.

    The responsibility of bearing witness weighed heavily on Friedmann's conscience, even before his liberation. Upon returning to Prague, he painted the scenes that haunted his memories to bear witness and give voice to those who could not be heard, creating more than 100 artworks. From January 1946, he had exhibitions featuring his Holocaust themed work in Czechoslovakia, as well as in Palestine. He brought the exhibition to Western Bohemia, where the Germans were still living, and toured through several towns in the former Sudetenland. All German nationals were forced to view his work and pay admission; otherwise they would not receive their ration cards. In 1948, he married Hildegard Taussig, born in Berlin on April 6, 1921, a survivor of several concentration camps. The couple fled to Israel in 1949 because of the Stalinist policies of the Communist government and the increasing anti-Semitism. Friedmann defied an export prohibition and bribed a customs inspector in order to ship his artwork out of the country. In 1954, the couple immigrated to New York with their daughter, also named Miriam. Friedman embarked on a successful career in commercial art with General Outdoor Advertising Company Inc., and settled in St. Louis, Missouri. The family became U.S. citizens and Americanized their surname to one “n”. After retirement in 1962, Friedman returned to his art to show the world the persecution, torment, and agony inflicted by the Nazis. A series of paintings, drawings and etchings entitled, "Because They Were Jews!" became the first art collection to be accepted into the collection of the United States Holocaust Memorial Museum. He never ceased to bear witness about the Holocaust. Friedman died at the age of 86, on February 27, 1980, in St. Louis, Missouri.

    Physical Details

    Language
    German
    Classification
    Art
    Category
    Drawings
    Physical Description
    Charcoal drawing on white paper depicting a double line of naked women and 3 children seen from the back walking toward an open doorway with the sign BADE ANSTALT AUSCHWITZ. On the left is a partial view from behind of a uniformed soldier with a swastika armband and pistol belt, clutching a pair of gloves, watching the group. One woman holds a small child; 2 children, 1 with an arm around the other, stand in the back of the line, nearest the viewer. The building has 2 paned windows right of the doorway and smoke wafts down from the upper right. There is German text written on the wall right of the door. The artist’s signature and date are in the upper right corner. There is tape residue on the reverse.
    Dimensions
    overall: Height: 23.875 inches (60.643 cm) | Width: 18.000 inches (45.72 cm)
    Materials
    overall : paper, charcoal, fixative

    Rights & Restrictions

    Conditions on Access
    There are no known restrictions on access to this material.
    Conditions on Use
    Copyright, trademark, and all literary rights are retained by the heir of David Friedman, Miriam Friedman Morris.

    Keywords & Subjects

    Administrative Notes

    Provenance
    The drawing was donated to the United States Holocaust Memorial Museum in 1988 by Miriam Friedman Morris, the daughter of David Friedman.
    Funding Note
    The cataloging of this artifact has been supported by a grant from the Conference on Jewish Material Claims Against Germany.
    Record last modified:
    2024-10-03 10:54:23
    This page:
    https:​/​/collections.ushmm.org​/search​/catalog​/irn516143

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