Some amazing color photographs capture everyday life in Poland in 1947:
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Showing posts with label Poland. Show all posts
Showing posts with label Poland. Show all posts
March 4, 2014
February 20, 2014
Color Photos of Warsaw in 1944
Some amazing color photographs of Warsaw in 1944:
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February 16, 2014
Post-War Photos of Warsaw in Color in 1947
During World War II 84% of Warsaw was destroyed. Dramatic snaps in colour show the centre of the city, including Śródmieście, Old Town and meaningful empty space after the Jewish Ghetto. The photos were taken by New York photographer Henry N. Cobb during his stay in Warsaw, Poland in the summer 1947.
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January 13, 2014
Rare Color Photos of Daily Life at the Lodz Ghetto in the Early 1940s
The Łódź Ghetto was a World War II ghetto established for Polish Jews and Roma following the 1939 invasion of Poland. It was the second-largest ghetto in all of German-occupied Europe after the Warsaw Ghetto.
Below are some rare color photographs that capture daily life at the Lodz Ghetto in 1943.
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Below are some rare color photographs that capture daily life at the Lodz Ghetto in 1943.
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January 1, 2014
40 Stunning Color Photographs Capture Daily Life in Poland in the Early 1980s
In the early 1980s, while Gdansk and Warsaw were in the midst of a sociopolitical upheaval of great impact on a European scale, Bruno Barbey took the occasion to embark on a journey of almost 40,000 kilometers over an eight month period.
Accompanied by his family and living in a camper, he managed to detour the stern surveillance prevalent at the time. This was an approach that allowed him to discover a tormented people in battle and a country torn between Catholicism and Communism, where the word “solidarity” really means something.
Bruno Barbey insists, “Poland was the page in History that was being written and it was the memory of an ancestral society on the verge of disappearing.”
Accompanied by his family and living in a camper, he managed to detour the stern surveillance prevalent at the time. This was an approach that allowed him to discover a tormented people in battle and a country torn between Catholicism and Communism, where the word “solidarity” really means something.
Bruno Barbey insists, “Poland was the page in History that was being written and it was the memory of an ancestral society on the verge of disappearing.”
December 27, 2013
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December 18, 2013
A Girl Who Grew Up in a Concentration Camp Draws a Picture of 'Home' While Living in a Residence for Disturbed Children, Poland, 1948
A girl who grew up in a concentration camp was asked to draw “Home” and what she drew was scribbles. It shows how the horrors of the concentration camp warped her mind. It’s a mystery what the lines truly mean to her, probably the chaos or the barbed wire.
An extraordinary picture taken in 1948 by David ‘Chim' Seymour, one of Magnum Photos' co-founders, has since been seen by millions: first, it was published in LIFE magazine where the caption read in part “Children's wounds are not all outward. Those made in the mind by years of sorrow will take years to heal." Then it was selected by Edward Steichen for his legendary exhibition The Family of Man. This image of Tereska drawing her home has fascinated many and has become emblematic of World War II.
In the Spring of 1948, when Chim was sent by UNICEF as a special correspondent to report on children in five European countries, 13 million children of Europe had survived World War II. They were homeless and orphans, many of them physically wounded as well as mentally traumatized.
In a school for “backward and psychologically upset children,” as Chim states in his story's captions, Tereska, then seven or eight years old, is standing in front of a blackboard. As we see in Chim's contact sheets from a pinned notice on the blackboard, the teachers' assignment was ‘To jest dom”- “This is home”.
That is what children were supposed to draw, but Tereska could only trace in chalk a tangle of frantic lines. Her haunted eyes reflect her confusion and anguish. Tereska's identity has remained a mystery for almost 70 years.
Teresa Adwentowska came from a Catholic family. She was one of two daughters of Jan Klemens, who was an activist in the Polish Underground State, the Resistance. During the Warsaw uprising (August-October 1944), he was heavily beaten and all his teeth were broken by the Gestapo at their Warsaw headquarters and prison. During the war, Tereska's mother Franciszka did her best to make ends meet, for instance visiting the Jewish ghetto in order to trade goods.
During the bombing of Warsaw by the German Lutwaffe, Tereska's home was destroyed, and her grandmother was most likely shot by Ukrainian soldiers who were helping the Germans annihilate the Warsaw Uprising. Tereska was struck by a piece of shrapnel that left her brain-damaged. Fleeing Warsaw after the bombings, four-year old Tereska and her 14-year-old sister Jadwiga spent three weeks trying to reach a village forty miles away from Warsaw - on foot, in a war-ravaged country. They were starving. That episode left her with an insatiable hunger, and her physical and mental condition steadily deteriorated. During the 1954/1955 school year, she had to be sent to a mental asylum in Świecie (about 190 miles from Warsaw). Since her early childhood she had loved drawing, mainly flowers and animals. As a teenager she got addicted to cigarettes and alcohol, and became violent towards her younger brother. Since the mid-sixties, she spent her life at the Tworki Mental Asylum near Warsaw; the only things that meant anything to her were cigarettes, food and her drawings.
In 1978, at the Tworki Mental Asylum, Teresa Adwentowska met with a tragic death: she accidentally choked on a piece of sausage that she had stolen from another patient.
Chim's photograph of Tereska, which has become a symbol of the fate of children during war and has inspired the Tereska Foundation, remains one of the only portraits of her as a child. As if caught in the tangled web of her own chalk lines, she remained frozen in time: for Tereska, war never ended.
(via TIME/LightBox)
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| Tereska, a child in a residence for disturbed children. She drew a picture of "home" on the blackboard. Warsaw, 1948. (David 'Chim' Seymour—Magnum Photos) |
An extraordinary picture taken in 1948 by David ‘Chim' Seymour, one of Magnum Photos' co-founders, has since been seen by millions: first, it was published in LIFE magazine where the caption read in part “Children's wounds are not all outward. Those made in the mind by years of sorrow will take years to heal." Then it was selected by Edward Steichen for his legendary exhibition The Family of Man. This image of Tereska drawing her home has fascinated many and has become emblematic of World War II.
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| David 'Chim' Seymour's photographs as they appeared in LIFE magazine in December 1948. (LIFE) |
In the Spring of 1948, when Chim was sent by UNICEF as a special correspondent to report on children in five European countries, 13 million children of Europe had survived World War II. They were homeless and orphans, many of them physically wounded as well as mentally traumatized.
In a school for “backward and psychologically upset children,” as Chim states in his story's captions, Tereska, then seven or eight years old, is standing in front of a blackboard. As we see in Chim's contact sheets from a pinned notice on the blackboard, the teachers' assignment was ‘To jest dom”- “This is home”.
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| Contact sheet of the children drawing on blackboard. Special-need institute, Warsaw, 1948. (David ‘Chim' Seymour—Magnum Photos) |
That is what children were supposed to draw, but Tereska could only trace in chalk a tangle of frantic lines. Her haunted eyes reflect her confusion and anguish. Tereska's identity has remained a mystery for almost 70 years.
Teresa Adwentowska came from a Catholic family. She was one of two daughters of Jan Klemens, who was an activist in the Polish Underground State, the Resistance. During the Warsaw uprising (August-October 1944), he was heavily beaten and all his teeth were broken by the Gestapo at their Warsaw headquarters and prison. During the war, Tereska's mother Franciszka did her best to make ends meet, for instance visiting the Jewish ghetto in order to trade goods.
During the bombing of Warsaw by the German Lutwaffe, Tereska's home was destroyed, and her grandmother was most likely shot by Ukrainian soldiers who were helping the Germans annihilate the Warsaw Uprising. Tereska was struck by a piece of shrapnel that left her brain-damaged. Fleeing Warsaw after the bombings, four-year old Tereska and her 14-year-old sister Jadwiga spent three weeks trying to reach a village forty miles away from Warsaw - on foot, in a war-ravaged country. They were starving. That episode left her with an insatiable hunger, and her physical and mental condition steadily deteriorated. During the 1954/1955 school year, she had to be sent to a mental asylum in Świecie (about 190 miles from Warsaw). Since her early childhood she had loved drawing, mainly flowers and animals. As a teenager she got addicted to cigarettes and alcohol, and became violent towards her younger brother. Since the mid-sixties, she spent her life at the Tworki Mental Asylum near Warsaw; the only things that meant anything to her were cigarettes, food and her drawings.
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| Family album with Tereska's photos. (Krzysztof Siemiątkowski) |
In 1978, at the Tworki Mental Asylum, Teresa Adwentowska met with a tragic death: she accidentally choked on a piece of sausage that she had stolen from another patient.
Chim's photograph of Tereska, which has become a symbol of the fate of children during war and has inspired the Tereska Foundation, remains one of the only portraits of her as a child. As if caught in the tangled web of her own chalk lines, she remained frozen in time: for Tereska, war never ended.
(via TIME/LightBox)
June 18, 2013
45 Beautiful and Surreal Vintage Polish Posters for Hollywood Movies
Unique, creative and, at times, plain crazy. Polish movie posters have recently hit new heights in their popularity. What usually makes a Polish movie poster recognizable? Well they normally avoid any iconic imagery you would expect or associate with the film itself.
During Communist rule, the Polish state-run film industry rejected Western ideas and their promotion and marketing ideals too, resulting in the training and specialization of the Polish movie poster artist. These young artisans were commissioned to create striking, unaffected posters for all our memorable western films. Expressive, surreal and unrestrained.
The Polish artists often had no legal reason to use photography or the actors in the design, often the leading stars didn’t even get credited. Sometimes the artist had never even seen the film or any imagery contained within it. The results were designs which conveyed the essence of the film with complete artistic freedom.
During Communist rule, the Polish state-run film industry rejected Western ideas and their promotion and marketing ideals too, resulting in the training and specialization of the Polish movie poster artist. These young artisans were commissioned to create striking, unaffected posters for all our memorable western films. Expressive, surreal and unrestrained.
The Polish artists often had no legal reason to use photography or the actors in the design, often the leading stars didn’t even get credited. Sometimes the artist had never even seen the film or any imagery contained within it. The results were designs which conveyed the essence of the film with complete artistic freedom.
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| Weekend at Bernie’s. Artist: Jakub Erol. Year: 1990 |
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| 25. War Games. Artist: Mieczyslaw Wasilewski. Year: 1985 |
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| Willow. Artist: Wieslaw Walkuski. Year: 1989 |
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| Rosemary’s Baby. Artist: Andrzej Pagowski. Year: 1984 |
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| Working Girl. Artist: Andrzej Pagowski. Year: 1990 |
March 14, 2013
Rare and Stunning Color Photographs Capture Daily Life in Poland in the 1930s
Hans Hildenbrand (1870–1957) was one of the early color photographers from Germany. In 1911 he founded the color photographic society, which mainly spread postcards and stereoscopic images and become known for taking color photographs during World War I. That time he was one of 19 officially commissioned war photographers on the German side, and the only one among them to make color photographs of the war zones in Alsace, Champagne and the Vosges.
After war in 1932 become photographer for the American magazine National Geographic, for which he visited Poland at the turn of the 1920s and ’30s where he captured the colorful life of its people. Below are some of his stunning photographs.
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After war in 1932 become photographer for the American magazine National Geographic, for which he visited Poland at the turn of the 1920s and ’30s where he captured the colorful life of its people. Below are some of his stunning photographs.
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December 20, 2012
Rare Color Photographs Capture Everyday Life in the Lodz Ghetto From 1940-1944
The Lodz Ghetto was the second-largest ghetto (after the Warsaw Ghetto) established for Jews and Roma in German-occupied Poland. Situated in the city of Łódź and originally intended as a temporary gathering point for Jews, the ghetto was transformed into a major industrial centre, providing much needed supplies for Nazi Germany and especially for the German Army.
Because of its remarkable productivity, the ghetto managed to survive until August 1944, when the remaining population was transported to Auschwitz and Chełmno extermination camp. It was the last ghetto in Poland to be liquidated.
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Because of its remarkable productivity, the ghetto managed to survive until August 1944, when the remaining population was transported to Auschwitz and Chełmno extermination camp. It was the last ghetto in Poland to be liquidated.
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