|Catalog No.||2291||Similar Items|
|Brief Description||Amalie Seckbach: Woman Amid Vegetation||Similar Items|
|Artist||Seckbach Amalie||Similar Items|
|Period||During World War II||Similar Items|
|Date of Work||01/06/1944||Similar Items|
|Work specifications/size||22X30 סמ' חתום ומתוארך ימין למטה: Amalie Sechbach 1/6/1944, חתום בראשי תיבות ימין באמצע: AMSE, באמצע מונוגרמה AS||Similar Items|
|databank||Art Collection||Similar Items|
Amalie Seckbach: Woman Amid Vegetation
Amalie Seckbach, nee Buch, was born on May 7, 1870, in the town of Hungen near Frankfurt, to a wealthy Jewish family.
In 1890 her father died, and the following year Amalie and her mother moved to Frankfurt. In 1907, Amalie married Max Seckbach, a well - known architect. The couple had no children.
Following the death of her mother in 1918 and her husband in 1922, Amalie Seckbach began sculpting. She developed an interest in Japanese and Chinese woodblock prints that were displayed at local museums, and became a noted connoisseur and collector. The “Seckbach collection” she assembled was exhibited in prominent museums in Germany, winning her international recognition. Included in some of the exhibitions were Seckbach’s own works, small sculpted busts, which aroused much interest and curiosity.
In 1930, Seckbach made the acquaintance of Belgian artist James Ensor, who was much impressed by her work. The pair mounted a joint exhibition in the Musees Royaux des Beaux - Arts in Brussels (Bruxelles), and her artworks attracted enthusiastic reviews. At age 60, Seckbach began to exhibit outside of her native Germany, particularly in Paris. Her works won considerable esteem and praise.
Even following the Nazis’ rise to power in 1933, Seckbach continued exhibiting in Germany for several years, in the framework of the Jewish Cultural Association (Juedischen Kulturbundse). Thanks to her international connections, Seckbach exhibited in Madrid, Florence (Firenze), Paris, Brussels, and in Ostende, Belgium. In 1936 she even showed her works in the museum of the prestigious Art Institute of Chicago.
In 1939, Seckbach was still living in her luxurious apartment in Frankfurt. In 1941, along with the rest of German Jewry, she was required to wear the Jewish badge. By the time she grasped the seriousness of the situation, it was too late; her attempts to emigrate to the USA via Lisbon were unsuccessful.
On September 15, 1942, she was deported to the Terezin (Theresienstadt) ghetto. There , the 72 - year - old Seckbach, despite her impaired physical condition, succeeded in producing artworks. She died on August 10, 1944.
In the Terezin ghetto, Seckbach would sometimes paint on paper she salvaged from trashcans. Unlike most other artists in Terezin, the works she produced there are not of a documentary nature, and at first glance may appear to lack any connection with the reality of her time and place. Seckbach paints beauty while in a world of death and suffering. Among her subjects are flowers, imaginary landscapes, and portraits with surrealistic qualities, that stand in contradiction to the reality of the situation in which they were made. Close