Leo Haas
Object numberM2020/020h
TitleLeo Haas
Creator Leo Haas (artist)
DescriptionPrint 8 in a portfolio of 12 lithographs by artist Leo Haas, published in Prague in 1947, which depict confronting images of life and death in concentration camps and ghettos. This print depicts a group of people huddled together in a dark room, a closed door in the background with light streaming in from a high window. Each print in this series is accompanied by an extract of poetry by Milos Vacik, a poet jailed for anti-Nazi resistance activity, which serves as an interpretive introduction to the work:
In the damp darkhouse, full of smell and phlegmones, which will for a very long time denote the German word Bunker, which is unworthy to be called a den of an animal one awaits death only. At a moment when the sun slants a favourable angle, those who are waiting are accompanied by the lunacy of light only. The lights of that worn and yellow caller of life and revivalist who is also sliding in forest clearings, on mountain slopes, it flows down from them in small streams. Whether its golden fanfares summon the dead when the alive remain motionless?
Leo Haas, born 15 April 1901 in Opava, Czechoslovakia, was a prominent Jewish artist practising painting and graphic work in Opava, Berlin and Vienna from 1924-1938. In 1938 when Nazi Germany annexed the Sudetenland border of Czechoslovakia which included Opava Haass work was denounced as degenerate. As a Jew and also a Communist, Haas was arrested in 1939 and deported first to Nisko labour camp then to forced labour in Ostrava. While in Ostrava he became involved in the underground, helping to smuggle people and goods out of the country. He was arrested for smuggling in August 1942 and transported to Theresienstadt one month later. He was assigned to the Technical Department, producing maps, charts, artwork and propaganda materials for the German SS camp administrators, in preparation for the June 1944 Red Cross visit. His work in the Technical Department provided access to art supplies which he and a group of other artists, including Bedrich Fritta, secretly used to depict the real horrors of ghetto life. Some artwork was smuggled out of the ghetto, while the remainder some 400 works were hidden in walls or buried. In June 1944, the artists were imprisoned in the Small Fortress and brutally tortured for information regarding the dissemination of their artworks. In October, Haas was deported to Auschwitz. One month later, he was transported to the Sachsenhausen camp, where he was assigned to a work detail counterfeiting foreign currency. In February 1945 he was transported to Mauthausen and Ebensee camps, where he was liberated. He returned to Theresienstadt to recover his hidden works.
This portfolio belonged to Trude Baumann (nee Teller, nee Weiss), who was imprisoned in Theresienstadt from 1942 until 1944, when she was deported to Auschwitz and subsequently Oederan, a subcamp of Flossenburg.
In the damp darkhouse, full of smell and phlegmones, which will for a very long time denote the German word Bunker, which is unworthy to be called a den of an animal one awaits death only. At a moment when the sun slants a favourable angle, those who are waiting are accompanied by the lunacy of light only. The lights of that worn and yellow caller of life and revivalist who is also sliding in forest clearings, on mountain slopes, it flows down from them in small streams. Whether its golden fanfares summon the dead when the alive remain motionless?
Leo Haas, born 15 April 1901 in Opava, Czechoslovakia, was a prominent Jewish artist practising painting and graphic work in Opava, Berlin and Vienna from 1924-1938. In 1938 when Nazi Germany annexed the Sudetenland border of Czechoslovakia which included Opava Haass work was denounced as degenerate. As a Jew and also a Communist, Haas was arrested in 1939 and deported first to Nisko labour camp then to forced labour in Ostrava. While in Ostrava he became involved in the underground, helping to smuggle people and goods out of the country. He was arrested for smuggling in August 1942 and transported to Theresienstadt one month later. He was assigned to the Technical Department, producing maps, charts, artwork and propaganda materials for the German SS camp administrators, in preparation for the June 1944 Red Cross visit. His work in the Technical Department provided access to art supplies which he and a group of other artists, including Bedrich Fritta, secretly used to depict the real horrors of ghetto life. Some artwork was smuggled out of the ghetto, while the remainder some 400 works were hidden in walls or buried. In June 1944, the artists were imprisoned in the Small Fortress and brutally tortured for information regarding the dissemination of their artworks. In October, Haas was deported to Auschwitz. One month later, he was transported to the Sachsenhausen camp, where he was assigned to a work detail counterfeiting foreign currency. In February 1945 he was transported to Mauthausen and Ebensee camps, where he was liberated. He returned to Theresienstadt to recover his hidden works.
This portfolio belonged to Trude Baumann (nee Teller, nee Weiss), who was imprisoned in Theresienstadt from 1942 until 1944, when she was deported to Auschwitz and subsequently Oederan, a subcamp of Flossenburg.
Production placeCzechoslovakia
Production date 1947 - 1947
Subjectholocaust art, artists, concentration camps, survivors
Object nameprints
Materialpaper
Dimensions
- width: 480.00 mm
height: 340.00 mm
Credit lineSydney Jewish Museum Collection, Donated by Michael John Baumann
In appreciation to the Conference on Jewish Material Claims Against Germany (Claims Conference) for supporting this archival project.