Batya Brutin

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Dr. Batya Brutin is an art historian researcher of art during and after the Holocaust and Holocaust monuments in Israel and worldwide. From 2000 to September 2018 she was the director of the Holocaust Teaching in Israeli Society Program at Beit Berl Academic College in Israel.Dr. Brutin published academic essays and educational materials on these subjects as well. Dr. Brutin published academic essays and educational materials on these subjects mentioned above. Dr. Brutin received the Yad Vashem award of lifetime achievement in the field of Holocaust education 2018.

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Andrej Dujella

University of Zagreb

Hemin Koyi

Uppsala University

Jana Javornik

University of East London

Graham Martin

University of Leicester

Gwen Robbins Schug

University of North Carolina at Greensboro

Gabriel Gutierrez-Alonso

University of Salamanca

John Sutton

Macquarie University

Eros Carvalho

Universidade Federal do Rio Grande do Sul

Kevin Arbuckle

Swansea University

Jesper Hoffmeyer

University of Copenhagen

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Papers by Batya Brutin

About the Book’s Chapters

De Gruyter eBooks, Apr 22, 2024

Chapter 5: Remembering the Holocaust

De Gruyter eBooks, Apr 22, 2024

Chapter 2: Life in the Shadow of the Inscription

De Gruyter eBooks, Apr 22, 2024

Chapter 4: Moral, Political, and Universal Messages

De Gruyter eBooks, Apr 22, 2024

Chapter 3: Paraphrase of the Inscription

De Gruyter eBooks, Apr 22, 2024

List of Illustrations

De Gruyter eBooks, Apr 22, 2024

Arbeit Macht Frei

De Gruyter eBooks, Mar 28, 2024

Chapter 1: We Were There: Illustrated Testimony

De Gruyter eBooks, Apr 22, 2024

Holocaust Monuments in Poland

Routledge eBooks, Jan 24, 2024

Arbeit Macht Frei

Routledge eBooks, May 30, 2023

Holocaust Icons in Art: The Warsaw Ghetto Boy and Anne Frank

De Gruyter eBooks, Apr 30, 2020

The unknown boy from the Warsaw Ghetto and well-known Anne Frank have become icons of the Holocau... more The unknown boy from the Warsaw Ghetto and well-known Anne Frank have become icons of the Holocaust. By means of their recognizable photographs, they have come to represent the innocent Jewish children murdered during the Holocaust, in art as well as in general. Researchers have claimed that what the camera captures reflects only a narrow slice of reality, and therefore photographs do not fully explain the event or provide the knowledge required to wholly interpret the images. Furthermore, they suggest that in discussing Holocaust pictures there are two representations, the denotative and the connotative. The denotative representation describes the event from an historical point of view, while the connotative representation shows an interpretive point of view in which the image progressively distances itself from the historical origin and thus becomes a symbol. 1 The use of the Warsaw Ghetto boy and Anne Frank's photographic images in works of art is a worldwide phenomenon. Artists from diverse backgrounds, various ages, and different genders have conveyed an assortment of meanings and messages through these two children's images. Artists used the Warsaw Ghetto boy and Anne Frank's photographs as inspiration to express their thoughts, emotions and perceptions of the Holocaust in general and, at the same time, to cope particularly with the fate of these two victims. Working with these images has widely allowed artists to examine their own feelings about the fate of one-and-a-half million vulnerable and helpless Jewish children murdered by the Nazis and their collaborators. Some of the artists who depicted the Warsaw Ghetto boy's image isolated his figure from the convoy in the photograph and portrayed him in various ways. Arnold Trachtman and Yala Korwin presented a dark image emphasizing his vulnerability and helplessness (Figs. 8, 9). Samuel Bak painted the Warsaw boy marked with a target to indicate that Jewish children were marked to be eliminated according to Nazi ideology (Fig. 11). Muriel Nezhnie Helfman reminded us of the Warsaw boy's fate by adding the German declaration that "The Jewish quarter of Warsaw is no more." At the same time, she pointed out that the responsible Nazi criminals were caught and brought to justice in the Nuremberg trials by showing the stamp of the International Military Tribunal in Nuremberg (Fig. 13). To express his deep feelings for the innocent Jewish children murdered during the Holocaust, Aaron Morgan placed a citation from Barbara Sonek's poem Holocaust on the Warsaw boy's figure (Fig. 14). Avner Bar Hama combined numerous biblical verses

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When Past and Present Meet in Israeli Art: Memorialization of the Holocaust

Memorialization of the Holocaust in Israeli art appeared from the establishment of the State in 1... more Memorialization of the Holocaust in Israeli art appeared from the establishment of the State in 1948 and onwards. It was influenced by Israeli society, Israeli art’s institutional attitude towards the subject and by local historical events such as wars, Nazi criminals’ trials, and the conflict between the Israelis and the Arabs since 1948.

Israel Bernbaum : Painting His Story, In Commemoration of the 70th Year Anniversary of The Warsaw Ghetto Uprising

This exhibition catalog is published in conjunction with the exhibition: Israel Bernbaum : painti... more

The Boy from the Warsaw Ghetto as Holocaust Icon in Art

Ars judaica, May 1, 2015

Two Ways: Representations of the Holocaust in Israeli Art

International relations and diplomacy, May 28, 2015

The subject of the Holocaust appeared in Israeli art from the establishment of the State and onwa... more The subject of the Holocaust appeared in Israeli art from the establishment of the State and onwards. The integration of the Holocaust in Israeli art through the years was influenced by Israeli society and the Israeli art institutional attitude towards the subject and by local historical events. As a result, we witness a development of two directions in Israeli art concerning the Holocaust. One of them has two facets: a massive use of images emphasizing the enormous personal as well as collective destruction of the Jewish nation as the ultimate victim that "the entire world is against us"; While the other facet is that despite the Jewish people emerge battered and humiliated from the Holocaust, they built a country to be an immovable, permanent and safe place for the Jewish nation since "there is no one else except for us to do it". The other direction regarding the Holocaust that developed in Israeli art, examining in an universal approach the Israeli response to the Holocaust through the prism of local historical events occurring since the establishment of the State. Therefore, we see imagery that examines the aggressive impression of the Israelis, as an internal as well as external criticism of what seems as aggression and violence against another nation. In Israel, as well as in other Modern states, art is used as a means for expression of different viewpoints. In this article, I am focusing on the artistic references to the above approaches to the Holocaust.

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Etched in Flesh and Soul

De Gruyter eBooks, Nov 15, 2021

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Myth and Reality: On “Future Generations” of the Holocaust

by Batya Brutin and Zvi Zemishlany

Academic Studies Press eBooks, Dec 31, 2019

3 Symbols of the Holocaust: Universal Imagery and Particularly Jewish Iconography

De Gruyter eBooks, Dec 31, 2020

The Pictorial Testimony During the Eichmann Trial in Jerusalem in 1961-1962

Advances in religious and cultural studies (ARCS) book series, Jun 12, 2018

Drawings by four painters were presented at the Eichmann trial in Jerusalem in 1961-1962, in thre... more Drawings by four painters were presented at the Eichmann trial in Jerusalem in 1961-1962, in three different testimonies. The paintings, made during and after the Holocaust, included depictions of Holocaust events from the Theresienstadt ghetto and Auschwitz concentration camp and were an inseparable part of constructing the comprehensive story of the Holocaust in the trial. Presenting the paintings as forensic evidence calls for an inquiry about their importance and their unique contribution to the process of the trial as complementary evidence to a witness investigation. This chapter shows how the paintings allowed witnesses to expand the information that they could lend the court, and that in practice the testimonies were held in two combined languages: pictorial and verbal.

Myth and Reality: On “Future Generations” of the Holocaust

by Batya Brutin and Zvi Zemishlany

About the Book’s Chapters

De Gruyter eBooks, Apr 22, 2024

Chapter 5: Remembering the Holocaust

De Gruyter eBooks, Apr 22, 2024

Chapter 2: Life in the Shadow of the Inscription

De Gruyter eBooks, Apr 22, 2024

Chapter 4: Moral, Political, and Universal Messages

De Gruyter eBooks, Apr 22, 2024

Chapter 3: Paraphrase of the Inscription

De Gruyter eBooks, Apr 22, 2024