Unspeakable, the artist as witness to the Holocaust
Imperial War Museum

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Edgar Ainsworth

'I made a drawing of a girl aged 22, and in return I offered her a cigarette. She took it and ate it whilst I was fumbling with my matches to give her a light.... Conditions such as these are beyond anyone's power to explain away.'

Edgar Ainsworth
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Edgar Ainsworth, Belsen. A scene of Belsen as witnessed by the artist. In the centre of the composition is an emaciated, elderly man dressed in a striped concentration camp uniform and wearing only one shoe. He is sitting on a slight rise in the ground above a pile of corpses, his back to a pillar. Behind him is another man, his back to the viewer. In the left of the composition, a group of three people stand and watch as a comparatively healthy-looking man and a woman lift a shrunken corpse by the shoulders and legs. This pair may be German citizens, forced to bury the dead at Belsen after liberation. Clouds of small black dots representing flies hover over the dead.
Belsen, 1945
ink, Imperial War Museum
Edgar Ainsworth, Wera Berger. An ink sketch of a terribly emaciated child curled up as though sleeping. This young woman is the focal point of the drawing, lying on her side, bones and ribs protruding, against an undefined background. With her arms covering her chest and hands wrapped around her neck, she lies as though half awake, with one eye open staring outwards towards the artist who observes her.
Wera Berger aged 13 after a Year in Ravensbruck (near Belsen), April 1945
oil, Imperial War Museum

Edgar Ainsworth was born in 1905. As the Art Editor for Picture Post magazine, Ainsworth visited Bergen-Belsen three times in the months after it was liberated and recorded in his drawings the changes he saw among the people he met there.

In September of 1945, Ainsworth published a number of his drawings in Picture Post along with an article that gave his witness account of life in the liberated camp. This article was written in response to the ongoing Belsen Trials and to combat the sentiments of scepticism and indifference he had observed among some members of the general public.

'I went to Belsen shortly after it was liberated. I saw the horrors of mass death. I was nauseated, as every other sane human would be. But it wasn't the piles of rotting dead that fascinated and horrified me, it was the condition of the still living'.

Edgar Ainsworth, 'Victim and Prisoner' Picture Post, September, 1945.

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