Dimensions: height 100 mm, width 150 mm
Copyright: Rijks Museum: Open Domain
This small, anonymous photograph from the Estate of Isabel Wachenheimer is intriguing. It shows a young woman in bed, writing or drawing with a fountain pen. What strikes me most is the intimacy of the scene. The soft light, the comfortable setting, and her focused expression invite us into a private moment of creation. I love how the black and white tones emphasize the textures: the crispness of the paper, the softness of the bedding, the smooth barrel of the pen. Notice how the diagonal of the writing board cuts across the frame, creating a dynamic tension. It's like a barrier, separating her inner world from our gaze, yet also a bridge, inviting us to imagine what she’s creating. This image reminds me of other artists who have explored themes of domesticity and self-reflection, like Édouard Vuillard or even Agnes Martin. It’s a reminder that art can be found in the everyday, in the quiet moments of observation and expression.
Isabel Wachenheimer still signed with her concentration camp number, ‘K.Z. häftling No 918’ three months after she was liberated. Just see the inscription on the back of a portrait photograph of her taken on 25 September 1945. Isabel was a broken person after the war. She slowly recuperated from a fractured vertebra in Davos (Switzerland). In November 1946 Isabel married Leo Blumensohn, a fellow victim she met in the Westerbork transit camp.
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