When Memory Speaks: The Holocaust in Art by Nelly S. TollWhen Memory Speaks: The Holocaust in Art by Nelly S. Toll

When Memory Speaks: The Holocaust in Art

byNelly S. Toll

Hardcover | January 30, 1998

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Although the Holocaust represents one of the worst atrocities in the history of mankind, it is thought of by many only in terms of statistics--the brutal slaughter of over 6 million lives. The art of those who suffered under the most unspeakable conditions and the art of those who reflect on the genocide remind us that statistics cannot tell the entire story. This important and diverse collection focuses on the art expression from the inferno, documenting the Holocaust through sketches of camp life drawn surreptitiously by victims on scraps of paper, and through contemporary paintings, sculpture, and personal reflections. From an informative and comprehensive perspective, this book evokes a powerful response to the 20th-century catastrophe.
Title:When Memory Speaks: The Holocaust in ArtFormat:HardcoverDimensions:144 pages, 10 × 7 × 0.38 inPublished:January 30, 1998Publisher:ABC-Clio, LLC

The following ISBNs are associated with this title:

ISBN - 10:0275955346

ISBN - 13:9780275955342

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From Our Editors

Reflecting on the genocide of one of the worst atrocities in the history of mankind, When Memory Speaks: The Holocaust in Art is a reminder that statistics, though horrifically shocking, cannot tell an entire story. This diverse collection documents the holocaust and the brutal slaughter of more than six million lives. Through sketches of camp life drawn by victims on scraps of paper, contemporary paintings, sculptures and personal reflections, Nelly Toll has compiled an informative and perceptive volume that illuminates the most profound and unimaginable tragedy of the 20th century.

Editorial Reviews

"A significant addition to scholarship about how artists have reacted to the Shoah. Providing a survey of some of the background and significant contemporary visual representations, it includes discussions of various grouping of artists as well as monuments, such as aspects of the U.S. Holocaust Memorial Museum as an architectural/artistic space. Implicit in Toll's discussion is the issue of whether such art with a painful reference will be integrated or not into the legacy of the 20th century's visual aesthetic, or whether it resists scholarly categorization. If art is not integrated, and remains outside the framework of collective knowledge, then artists will have failed in their quest to convey the story and memory of the event. Toll reminds us that as we must look at history and literature, so we must look at paintings and other forms of art to help us igderstand this monumental event."-Stephen Feinstein Professor of History University of Minnesota