The Search For Hellmuth Weissenborn

Barbed-Wire Matinee -- Five Shots -- Fire and Crystal -- The Rescuers -- Sunset Train -- The Basement and the Judge -- Spy Fever -- Nightmare Mill -- The Misted Isle -- The University of Barbed Wire -- The Vigil -- The Suicide Consultancy -- Into the Crucible -- The First Goodbyes -- Love and Paranoia -- The Heiress -- Art and Justice -- Home for Christmas? -- The Isle of Forgotten Men -- A Spy Cornered -- Return to the Mill -- The Final Trial.

This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.

Fearing an imminent Nazi invasion, the British government interned 28,000 men and women of enemy nationality living in Britain in the spring of 1940. Most were Jewish refugees who, having fled Nazi persecution, were appalled to find themselves imprisoned as potential Nazi spies. Using oral histories, unpublished letters and memoirs, artifacts and newspapers from the camps, and government documents, We Built Up Our Lives tells the compelling story of sixty-three of these internees. It is a seldom-told part of the history of World War II and the Holocaust and a classic tale of human courage and resilience. We Built Up Our Lives describes the survival mechanisms relied upon by the Jewish refugees. Although the internees, imprisoned in Britain, the Isle of Man, Canada, and Australia, were adequately housed and fed and rarely mistreated, they were cut off from family, friends, school, and work--everything that had given meaning to their lives. Resisting boredom, anger, and despair, the internees made the best of a bad situation by creating education, culture, and community within the camps. Before and after as well as during the internment--in Nazi Germany and in Britain--educational resources and social networks were essential to the refugees' efforts to build up their lives. Equally important were personal qualities of courage, ingenuity, assertiveness, and resilience.

These essays reveal the role of British intelligence in the roundups of European refugees and expose the subversion of democratic safeguards. They examine the oppression of internment in general and its specific effect on women, as well as the artistic and cultural achievements of internees.

Over the course of the twentieth century, dozens of British refugee camps housed hundreds of thousands of displaced people from across the globe. Unsettled explores the hidden world of these camps and traces the complicated relationships that emerged between refugees and citizens.

"This volume focuses on the contribution of refugees from Nazism to the Arts in Britain. The essays examine the much neglected theme of art in internment and address the spheres of photography, political satire, sculpture, architecture, artists' organisations, institutional models, dealership and conservation. These are considered under the broad headings 'Art as Politics', 'Between the Public and the Domestic' and 'Creating Frameworks'. Such categories assist in posing questions regarding the politics of identity and gender, as well as providing an opportunity to explore the complex issues of cultural formation. The volume will be of interest to scholars and students of twentieth-century art history, museum and conservation studies, politics and cultural studies, in addition to those involved in German Studies and in German and Austrian Exile Studies."--BOOK JACKET.

"A biography of German-born artist Hellmuth Weissenborn, who moved to London after the rise of the Third Reich. Partially drawn from Weissenborn's World War I diary, letters from his first wife, and interviews with former students and colleagues. Illustrated in black-and-white with family photographs and examples of his artistic output"--Provided by publisher.

Barbed Wire University tells the extraordinary tale of Winston Churchill’s internment of some of the most gifted Jewish refugee writers, professors, artists, and painters of their generation in a camp on the Isle of Man in the Irish Sea. These were men who had fled Hitler’s Germany, found refuge in Britain, and then, in the hysteria of 1940, were held in captivity as a perceived security threat. They turned the camp—Hutchinson Camp—into a school, concert hall, and artistic community. Using memoirs and diaries, some of which have only recently become available in archives, Dave Hannigan pieces together a richly detailed account of what these remarkable men did during their time in captivity. This is a forgotten corner of World War II, and the way these men constructed a Bohemian idyll in the middle of the Irish Sea, their freedom taken from them, is an extraordinary tale of grit and creativity.