It's the Real Thing
The Limits of Realism in Holocaust Visual Art
Bibliographic Data
| ID | 12878472 |
|---|---|
| Authors | Sarah Gendron (corresponding author) |
| Year | 2009 |
| Volume | 13 |
| Issue | 4 |
| Pages | 415-422 |
| Publication date | 2009-09-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary French and Francophone Studies (JOURNAL) |
| Journal identifiers | ISSN: 1740-9292 • E-ISSN: 1740-9306 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17409290903096277 |
| OpenAlex | W1991868228 |
| Language | EN |
| Citations received | 2 |
| References cited | 3 |
Click to increase image sizeClick to decrease image size Notes Notes 1 Examples of each include the abstract works of Balka, Kiefer, Rothko, and Stern, the documentary photographs of Margaret Bourke-White, and the autobiographical paintings and sketches of David Olère, Marty Kalb, and George Zielezinski. 2 Here, Hirsh references Debórah Dwork and Robert Jan van Pelt's contention that, although the gates of Auschwitz have, through photographs, come to symbolize the entrance of the death camp, they did not perform this function for many of the prisoners since many of them were driven immediately to Birkenau. Moreover, when the camp was extended in 1942, the gates were located inside the camp periphery. 3 These same images were employed ten years prior in Portraits des élèves du C.E.S. des Lentillères
Art · Art history · George (robot · Literature · Painting · Portrait · Psychoanalysis · Realism · Shadow (psychology · Stern · The Holocaust · Theology · Visual arts · White (mutation · History · Memory, Trauma, and Commemoration · Philosophy · Photography and Visual Culture · Psychology · Visual Culture and Art Theory
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,4 |
| Citation span | 2021 - 2023 (3) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |