Two-sided drawing of bunk space and two men by by a German Jewish internee
Extent and Medium
overall: Height: 14.000 inches (35.56 cm) | Width: 11.000 inches (27.94 cm)
pictorial area: Height: 6.125 inches (15.558 cm) | Width: 5.250 inches (13.335 cm)
Creator(s)
- Lili Andrieux (Subject)
- Lili Andrieux (Artist)
Biographical History
Lili Andrieux (1914-1996) was born Lili Sophie Abraham in Berlin, Germany, to Hans (1880-1955) and Margarete (nee Landau, 1887-1963) Abraham. She had two brothers, Joachim (1912-1958) and Peter (1916-1988), and a sister, Gabriele (later Nanda, 1928-2014). The Abrahams were a wealthy, assimilated Jewish family, and Hans was a respected notary or lawyer . On January 30, 1933, Adolf Hitler was appointed Chancellor of Germany. Anti-Jewish decrees were passed that restricted every aspect of Jewish life. Despite this, that same year, Lili became the only Jewish woman admitted to the Hochschule fur Kunsterzeichnung (the State College for Art Education) in Berlin. Admittance to the school was based on portfolio work. In September 1935, the Nazis announced the Nuremberg Laws, which excluded Jews from citizenship and prohibited them from marrying or having relations with non-Jewish persons. This likely prompted Lili’s brother, Peter, to immigrate to England in 1936 and find work in leather tanning and shoe manufacturing. In the 1930s, the other members of her family also immigrated to England, where Margarete’s brother lived. Because of the laws, Lili was not permitted to take her final exams in 1937. In 1938, she went to Paris to continue her studies at the Ranson Academie and permanently adopted the French surname Andrieux. Britain and France declared war on Germany on September 3, 1939, two days after Germany invaded Poland. In November 1939, Lili’s brother, Peter, left England for Melbourne, Australia, and changed his name to Peter Landan. On May 7, 1940, Lili’s parents and her siblings, Joachim and Gabriele, sailed from England, to the United States. The family settled in Massachusetts, with the support of Hans Apel, a family friend from Berlin who had immigrated to the United States in 1937. Lili’s father obtained a research position at Harvard University, and Joachim worked as a gardener, farmer, and a stockman. German forces invaded France on May 10, 1940, and the following month, France signed an armistice agreement with Germany. Germany occupied northern and western France, while southern and eastern France was governed by a French collaborationist government headquartered in the city of Vichy, suspending the constitution of the Third Republic. Soon after, Lili was taken to the transit center in Alencon, the Department of de L’Orne in Normandy. On June 4, she was transferred to Gurs internment camp in southwestern France near the Spanish border. In March 1941, Lili was moved to the Hotel Terminus du port in Marseilles, where women and children were held while waiting for visas and immigration permits. In September, she was transferred back to Gurs until November, when she was returned to the Hotel Terminus. While imprisoned, she created over 100 detailed drawings of daily domestic life, and the different groups held in the camps. An exhibit of her works was held in Aix-en-Provence in 1942, but they did not include scenes of the internment camp, as this was forbidden by camp regulations. On September 2, 1942, Lili was sent to the Family Reunion center in Les Milles internment camp, with the other women and children who had been held in hotels in Marseilles. She contracted typhus and was hospitalized in Aix-en-Provence. When she was discharged on September 26, she escaped and lived in hiding for the duration of the war with the aid of the French resistance, which she joined . On August 24, 1944, the German forces in France surrendered. Lili remained in Aix-en-Provence, working as a translator and multi-lingual secretary for the American Army and the US Graves Registration Command. In September 1946, after receiving a scholarship for the Museum School of Fine Arts in Boston, Massachusetts, she immigrated to the US, leaving Marseille aboard the Athos II. She married Ricardo Ester (1916-2004), whom she had met in Camp de Gurs. Ricardo, born in Barcelona, was a refugee from Francisco Franco’s fascist Spain, and had been a pilot for the Republic during the Spanish Civil War (1936-1939). They settled in San Diego, California, where Lili had a career as a commercial artist. Her work was occasionally exhibited, and is owned by the Lochamei HaGhetaot and the Bibliotheque Nationale, as well as the United States Holocaust Memorial Museum.
Archival History
The drawing was acquired by the United States Holocaust Memorial Museum in 1988.
Acquisition
United States Holocaust Memorial Museum Collection
Funding Note: The cataloging of this artifact has been supported by a grant from the Conference on Jewish Material Claims Against Germany.
Scope and Content
Double-sided sketch of a bunk and two men in Gurs internment camp, drawn by Lili Andrieux, a German Jewish internee. Lili created over 100 detailed drawings of people and daily life in the internment camps where she was held from May 1940 - September 1942 in France. Alençon was a collection center for transport to Camp de Gurs in Vichy France. After surrendering to Nazi Germany in June 1940, France was divided into two zones: a German military occupation zone and Free France under the Vichy regime. Gurs, built in spring 1939 to hold refugees from Spain, became an internment center for Jewish refugees. Lili, originally from Berlin, moved to Paris in 1938. She was taken to Alençon in May 1940 and reached Gurs on June 4. From March 1941-September 1942, she was held in the Hotel Terminus in Marseilles waiting for a visa. She was then sent to Les Milles internment camp where she became ill with typhus. When she recovered, she escaped and, with the help of the resistance, lived in hiding until fall 1944, when the war ended in France. Lili was a translator for the US Army and US Graves Registration Command until immigrating to America in September 1946.
Conditions Governing Access
No restrictions on access
Conditions Governing Reproduction
No restrictions on use
Physical Characteristics and Technical Requirements
The front features a black ink drawing on paper depicting a neat and organized bunk in the corner of a barrack, with patterned decorative pillows along the side. To the right of the bed is a small, rectangular side table with thin legs and knitting tools, vased flowers, and other objects on top. Along the walls above the bed are shelves with bottles, boxes, hats, and shoes neatly organized, two folded towels, and a long patterned robe hanging above the side table. Objects are outlined with long lines with finely sketched details, and shaded with gray ink wash and hatch marks. The reverse has a graphite sketch of two men walking. The man on the left is hunched over with a frowned expression, wearing a long, open coat and hat. On the right is an unfinished sketch of a man walking with crutches toward the right. He is wearing a long sleeved button up shirt and only has one leg depicted. The drawing is loosely sketched with short, quick lines. The man on the left is drawn darkly with detail and blended graphite shading, which the other man is lightly outlined with little detail and no shading. It is initialed and dated in the lower right.
artist’s overmat removed by conservator, front, bottom, right, pencil : LRAndrieux 40 reverse, right, center, cursive, black ink : Greky
People
- Andrieux, Lili (1914-1996)
Corporate Bodies
Subjects
- Holocaust, Jewish (1939-1945)--France.
- Jewish women artists.
- World War, 1939-1945--Prisoners and prisons--Pictorial works.
- France--History--German occupation, 1940-1945--Prisoners & prisons--Pictorial works.
- Holocaust, Jewish (1939-1945), in art.
- Marseille (France)
- Gurs (France)
- Les Milles (France)
- Prisoners as artists--France.
- Women prisoners--France.
Genre
- Art
- Art.
- Object