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A bronze sculpture at Yad Vashem.
Art Remains
Unlikely Legacy
LOBSTERS! LOBSTERS! LOBSTERS!
Variety Is The Spice Of Life
CATHRINE GERSON
Special to The Jewish News
ve „ _ at ri
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FRIDAY, SEPTEMBER 21, 1990
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11,
ANIERICAN
CANCER
SOCIETY'
A
rt is one of the most
unlikely legacies left
over from the Nazi
concentration camps and
death factories that dotted
Europe a half century ago.
Yet the Yad Vashem Art
Museum, which opened in
Israel eight years ago, con-
tains some 3,000 paintings
and drawings done in the
camps by more than 90 Jew-
ish artists, only a tiny hand-
ful of whom survived.
The art, if not the artists,
survived because they were
concealed or smuggled out of
the camps. They attest to the
Holocaust in terms more
powerful than words. To see
them is also to see the reply
of the Jews to suffering.
A pencil drawing done in
1943 in the Lodz ghetto by
Amos Szwarc shows Jews
burying their dead in the
ghetto cemetery.
The lightly penciled draw-
ing of a screaming woman,
done by Halina Olumucki in
the Warsaw Ghetto in 1943,
is called "Don't Shoot My
Mother."
One of the artists who died
in Auschwitz was the Dutch
painter Leo Kok, whose
work is now being shown for
the first time in Israel.
Mr. Kok, only 22 when he
died, was born in Belgium;
like many other Belgian
Jews, he fled to Holland at
the outbreak of the war. In
1942, he was interned in the
Dutch concentration camp
Westerbork, from where
trains transported Jews
weekly to Theresienstadt,
the Nazis' model village
show-camp, which was for
most inmates only a way
station to Auschwitz.
Although Westerbork
served only as a transit
camp, the interns were
allowed to mount shows,
mainly for the amusement of
German officers serving in
the area.
Before he was put on a
train, Mr. Kok was made a
builder of stage sets, which
allowed him to steal
moments to paint portraits
of his friends and scenes
from the camp.
His paintings, done on
small scraps of paper, show
the development of the
young artist from simple
sketches to mature portraits
in charcoal, French coal and
color pencils. His paintings
were smuggled out of
Westerbork by a Dutch
military policeman, who
gave them after the war to
Mr. Kok's widow, Kitty.
She was more fortunate
than her husband in that she
was not immediately sent on
to Auschwitz, but stayed in
.Theresienstadt where she
was liberated at the end of
the war.
The exhibition of Leo
Kok's paintings at the Yad
Vashem Museum was
prepared by Jaap Nystadt,
Kitty's son by her second
marriage. Although Kok's
works have previously been
exhibited in Holland, Kitty