Who were these artists? Most of them are little known; only a few survived to have successful careers. This is not an exhibition dependent on the famous names of twentiethcentury art history, but rather on the men and women driven to respond as artists in circumstances beyond belief. How did they manage to find the resources to make these drawings when the consequence of discovery was death? Where did they start, surrounded by the enormity of this evil? What visual language can possibly start to express such devastation? Yet, ironically, their responses are founded on the traditions of Western Christian art.
Making this exhibition was never going to be easy. The material is spread across a great number of institutions. Piecing together the threads required a resolute belief that the story should be told. We have been fortunate that Glenn Sujo, the curator and author of the catalogue text, had this vision and I been able to combine it with the administrative a intellectual resources that can do justice to its richness and diversity. We have also been dependent the efforts of curators and friends and relations of artists who have preserved these drawings and paintings. That we have been able to draw on so much material is a testament to their work and to individuals and institutions now responsible for it.
I am especially grateful to the Posen Foundation which has generously supported the publicatiorn this catalogue. I would also like to thank Mich Peppiatt, Karen Pitchford and Meret Graber-Meyer for their assistance in facilitating loans from particular artists. Suzanne Bardgett, James Taylor and several former members of the Holocaust Project Office have been generous with help and advice. owe a great debt of gratitude to Glenn Sujo for dedication to this project over the past three years and his tenacity in seeing it through, as well as to many institutions, artists or their descendants who have lent their work.