Halloa! I fear this box may never provide a description that could ever truly satisify the definition of description.
In saying that, I'm 27, from Liverpool, apparently an infp, with a passion for Liverpool FC, history, and Star Trek. Ahem.
Also, I suppose I should note that I am so utterly staid that the colour beige has pursued legal action against me on a number of occasions. Damned legal obligations...
Oh, and this blog is quite probably PG-safe (I guess what constitutes PG is subjective, so probably) as I very rarely swear and don't post images of a fleshy nature.
Oh, oh, and I have a fascination (um, irrepressible obsession) with the two world wars, which is why they appear so prominently in my Tumblr. Macabre, perhaps, but it's principally centred on a desire to contribute, however insignificantly, to the "perpetuation" of those who suffered immeasurably in the wars.
"British troops being welcomed by civilians as they pass through the town of Tunis. The Allies entered the city on 7 May 1943 after surrounding thousands of retreating German and Italian troops. Soldiers from Lieutenant-General Bernard Montgomery’s Eighth Army had pushed westward and linked up with the Allied force commanded by General Dwight Eisenhower."
Felix Nussbaum, (Jewish German, 1904-1944) - Selfportrait with Jewish Identity Card - 1943
Felix Nussbaum (11 December 1904 – 2 August 1944) was a German-Jewish surrealist painter. Nussbaum’s artwork gives a rare glimpse into the essence of one individual among the victims of the Holocaust.
Nussbaum was born in Osnabrück, Germany, as the son of Rahel and Philipp Nussbaum. Philipp was a World War I veteran and German patriot before the rise of the Nazis. He was an amateur painter when he was younger, but was forced to pursue other means of work for financial reasons. He therefore encouraged his son’s artwork passionately.
Nussbaum was a lifelong student, beginning his formal studies in 1920 in Hamburg and Berlin, and continuing as long as the contemporary political situation allowed him. In his earlier works, Nussbaum was heavily influenced by Vincent van Gogh and Henri Rousseau and he eventually paid homage to Giorgio de Chirico and Carlo Carrà as well. Carl Hofer’s expressionist painting influenced Felix’s careful approach to color.
In 1933, Nussbaum was studying under a scholarship in Rome at the Berlin Academy of the Arts when the Nazis gained control of Germany. Adolf Hitler sent his Minister of Propaganda to Rome in April to explain to the artist elites how a Nazi artist was to develop, which entailed promoting heroism and the Aryan race. Nussbaum realised at this point that, as a Jew, he could not remain at the academy.
The next decade of Nussbaum’s life was characterised by fear, which is reflected in his artwork. In 1934 he took Felka Platek, a painter whom he had met while studying in Berlin and would later marry during their exile in Brussels in 1937, to meet his parents in Switzerland. Felix’s parents eventually grew homesick for Germany and, against his fierce objections, they returned. This was the last time Felix would see his mother and father — the source of his spiritual and financial support. Felix and Felka would spend the next ten years in exile, mostly in Belgium, a period of emotional and artistic isolation for him but also one of the most artistically productive in his life.
After Nazi Germany attacked Belgium in 1940, Nussbaum was arrested by Belgian police as a “hostile alien” German, and was subsequently taken to the Saint-Cyprien camp in France. The desperate circumstances in the camp influenced his pictures of that time. He eventually signed a request to the French camp authorities to be returned to Germany. On the train ride from Saint Cyprien to Germany, he managed to escape and rendezvous with Felka in Brussels, and they began a life in hiding. Without residency papers, Nussbaum had no way of earning an income, but friends provided him with shelter and art supplies so that he could continue his craft. The darkness of the next four years of his life can be seen in the expression of his artwork from that period.
1944 was the year in which the plans of Nazi Germany had the greatest impact on the Nussbaum family. Philipp and Rahel Nussbaum were killed at Auschwitz in February. In July, Nussbaum and his wife were found hiding in an attic by German armed forces. They were arrested, sent to the Mechelen transit camp and given the numbers XXVI/284 and XXVI/285. On August 2 they arrived at Auschwitz, and a week later Felix was murdered at the age of 39. On September 3, Nussbaum’s brother was sent to Auschwitz, and on September 6 his sister-in-law and niece were also murdered there. In December, his brother – the last of the family – died from exhaustion in the camp at Stutthof. Within one year, the entire Nussbaum family had been murdered.
In this time period, Nussbaum created two of his best-known works: Self Portrait with Jewish Identity Card (1943), and Triumph of Death (1944).
"Servicemen and women from the West Indies pictured in a BBC studio broadcasting messages home on the weekly overseas service, 19 October 1943. From left to right: Private Norma Marsh and Aircraftman Arthur Chin (both from Kingston, Jamaica); Private Nellie Forrester (from Montego Bay, Jamaica), Sapper Darnley Watts (of St Michael’s, Barbados); Nurse Vernice Lewis and Aircraftman Edwin Angus (both of Kingston, Jamaica); Pilot Officer Charles Egerton-Eves (of Stann Creek, British Honduras). On the far left of the photograph is Una Marson of the BBC."Egerton-Eves, DFC, of 357 Squadron, was killed on 20 May 1945 when his Douglas Dakota was lost while on detachment to China. Arthur Chin died in India a year after the war, on 26 November 1946, while serving as a pilot with 34 Squadron.
"Reggio, 3 September 1943 (Operation Baytown): A Sherman tank and infantry advance north from Reggio. Although the British Eighth Army encountered little active resistance during their advance, the natural obstructions of the terrain, combined with German demolition’s resulted in very slow progress and prevented the Army from intervening in the fighting at Salerno until after the Germans had started to withdraw."