Came across a great, but sad, article.
A Holocaust Mystery Finds Some Answers
Sep 16, 3:50 PM (ET)
By ARTHUR MAX and MONIKA SCISLOWSKABAD AROLSEN, Germany (AP) – Deep in Shari Klages’ memory is an image of herself as a girl in New Jersey, going into her parents’ bedroom, pulling a thick leather-bound album from the top shelf of a closet and sitting down on the bed to leaf through it.
What she saw was page after page of ink-and-watercolor drawings that convey, with simple lines yet telling detail, the brutality of Dachau, the Nazi concentration camp where her father spent the last weeks of World War II.
Arrival, enslavement, torture, death – the 30 pictures expose the worsening nightmare through the artist’s eye for the essential, and add graphic texture to the body of testimony by Holocaust survivors.
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What unfolds is a story of Holocaust survival compressed into two tragic lives, a tale with threads stretching from Warsaw to Auschwitz and Dachau, from Australia to suburban England, and finally to a bedroom in New Jersey where a fatherless girl makes a traumatic discovery.
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The album begins with an image of four prisoners in winter coats carrying suitcases and marching toward Dachau’s watchtower under the rifles of SS guards. It is followed by a scene of two inmates being stripped for a humiliating examination by a kapo, a prisoner working for the Nazis.
One image portrays two prisoners pausing in their work to doff their caps to a soldier escorting a prostitute – intimated by the seam on her stocking. Another shows a leashed dog lunging at a terrified inmate.
The drawings grow more and more debasing. Three prisoners hang by their arms tied behind their backs; a captured escapee is paraded wearing a sign, “Hurray, I am back again”; an inmate is hanged from a scaffold; and, in the final image, a man lies on the ground, shot dead next to the barbed-wire fence under the looming watchtower.
The album also has 258 photographs. Some are copies of well-known, haunting images of piles of victims’ bodies taken by the U.S. army that liberated the camp. Others are photographs, apparently taken for Nazi propaganda, portraying Dachau as an idyllic summer camp. Still others are personal snapshots of Unger with Polish refugees or with American soldiers who befriended him.
Barbara Distel, the director of the Dachau Concentration Camp Memorial Site, said Porulski probably drew the pictures shortly after the camp’s liberation in April 1945. He used identical sheets of paper, ink and watercolors for all 30 pictures, she said, and he “would never have dared” to draw such horrors while he was still under Nazi gaze.