Fotos de pasaporte de Felix y Felka, 1937
Los pintores y cónyugues Felix Nussbaum y Felka Platek, alemán él, polaca ella, sufrieron por su condición de judíos la persecución, exilio, deportación e internamiento por parte de los nazis, apresados cuando estaban ocultos en Bélgica y recluidos en el campo de concentración de Saint-Cyprien en el Sur de Francia y finalmente, tras un tiempo de huida, en Auschwitz donde encontraron la muerte un 2 de Agosto de 1944. La curiosa casa-museo de Nussbaum en su hermosa ciudad natal de Osnäbruck, encargada al arquitecto Daniel Libeskind, no sólo alberga su obra superviviente, sino que en su concepto es un monumento a la memoria del sufrimiento de los represaliados por los nazis, que obliga al visitante a buscar incesantemente las salas para completar la visita y la salida o bien de cada sala o bien del sobrio interior del edificio, requiriendo en ocasiones de la ayuda de los bedeles o los planos para continuar el camino. Transmite así cierta sensación de aprensión, perdición, confusión o incluso claustrofobia. No sin razón es conocida localmente como "la casa sin salida". El trabajo de Nussbaum se caracteriza por una primera época berlinesa más formal, con ciertas influencias de Karl Hofer y Van Gogh, una segunda etapa que pretendía una denuncia del antisemitismo que se suma a otra más surrealista plagada de autorretratos carnavalescos y una final, mientras se encontraba en fuga del campo de concentración francés, donde la agonía de la persecución, la prisión y la guerra se ve reflejada con más crudeza y aflicción. La obra de Felka es mucho menos conocida y escasa, ensombrecida en parte por el prestigio de su marido y por las dificultades de sus vidas clandestinas.
The painters and spouses Felix Nussbaum and Felka Platek, German he, Polish her, suffered persecution, exile, deportation and internment by the Nazis, imprisoned when they were hidden in Belgium and held in the concentration camp of Saint-Cyprien in the South of France and finally, after a time of escape, in Auschwitz where they died a 2nd of August of 1944. The curious house-museum of Nussbaum in his beautiful city of Osnäbruck, ordered to the architect Daniel Libeskind, not only houses his surviving work, but in his concept is a memorial of the suffering of the Nazi reprisals, which forces the visitor to search the rooms incessantly to complete the visit and exit from each room or from the sober interior of the building, sometimes requiring the help of workers or maps to continue. It conveys a certain sense of apprehension, perdition, confusion or even claustrophobia. Not without reason it is known locally as "the house without exit". Nussbaum's work is characterized by a more formal first Berlin period, with certain influences of Karl Hofer and Van Gogh, a second stage that sought a denunciation of anti-Semitism, which added also a more surrealist one, full of carnavelesque self-portraits and a final one, after escaping from the French concentration camp, where the agony of persecution, imprisonment and war is reflected with more harshness and grief. Felka's work is much less-known and scarce, overshadowed in part by the prestige of her husband and by the difficulties of their clandestine lives.
The painters and spouses Felix Nussbaum and Felka Platek, German he, Polish her, suffered persecution, exile, deportation and internment by the Nazis, imprisoned when they were hidden in Belgium and held in the concentration camp of Saint-Cyprien in the South of France and finally, after a time of escape, in Auschwitz where they died a 2nd of August of 1944. The curious house-museum of Nussbaum in his beautiful city of Osnäbruck, ordered to the architect Daniel Libeskind, not only houses his surviving work, but in his concept is a memorial of the suffering of the Nazi reprisals, which forces the visitor to search the rooms incessantly to complete the visit and exit from each room or from the sober interior of the building, sometimes requiring the help of workers or maps to continue. It conveys a certain sense of apprehension, perdition, confusion or even claustrophobia. Not without reason it is known locally as "the house without exit". Nussbaum's work is characterized by a more formal first Berlin period, with certain influences of Karl Hofer and Van Gogh, a second stage that sought a denunciation of anti-Semitism, which added also a more surrealist one, full of carnavelesque self-portraits and a final one, after escaping from the French concentration camp, where the agony of persecution, imprisonment and war is reflected with more harshness and grief. Felka's work is much less-known and scarce, overshadowed in part by the prestige of her husband and by the difficulties of their clandestine lives.
Retrato de una joven. Felka Platek, 1927.
Bodegón. Felka Platek, 1935
Retrato de Etienne, Felka Platek, 1940.
Gitana. Felix Nussbaum, 1927.
Gitano. Felix Nussbaum, 1928.
Amantes. Felix Nussbaum, 1928.
Memorias de Norderney. Felix Nussbaum, 1929.
Retrato de hombre joven. Felix Nussbaum, 1930.
Baile en la pared. Felix Nussbaum, 1930.
Destrucción 2. Felix Nussbaum, 1933.
Sepelio. Felix Nussbaum, 1933.
Mercado de pescado. Felix Nussbaum, 1936.
Autorretrato con toalla. Felix Nussbaum, 1936.
Perlas. Felix Nussbaum, 1939.
El refugiado. Felix Nussbaum, 1939.
Prisionero. Felix Nussbaum, 1940.
Miedo. Felix Nussbaum, 1941.
La tempestad. Felix Naussbaum 1941.
Pareja afligida. Felix Naussbaum, 1943.
Órgano. Felix Nussbaum 1943.
Autorretrato con tarjeta judía. Felix Nussbaum, 1943.
Judío en la calle. Felix Nussbaum, 1944.
