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A new film brings to life ‘the largest single work of art created by a Jew during the Holocaust’
(New York Jewish Week) — While hiding from the Nazis, the German Jewish artist Charlotte Salomon began a series of autobiographical paintings and texts with a painfully simple description of her aunt, and namesake’s, suicide: “Scene 1: 1913. One November day, a young girl named Charlotte Knarre leaves her parents’ home and jumps into the water.”
Intense and memorable, that image is the launching point for “Life? or Theatre?”, a series of hundreds of gouaches Salomon made between 1940 and 1942. Best described as an “autobiographical play,” it features personal stories illustrated with vibrant paintings and cues for music. Salomon, in her 20s when she made the body of work, called it a “singspiel,” a play with music.
And now, a new film directed by French sisters Delphine and Muriel Coulin, delivers a cinematic representation of her best-known work. “Charlotte Salomon: Life and the Maiden” will make its world premiere at Lincoln Center on Weds., January 18 as a centerpiece of the New York Jewish Film Festival.
The film lies somewhere between cinema and art installation: Aside from a brief opening and conclusion, Salomon’s expressive paintings take up most of the screen time. Sound design brings the paintings to life, as does the music Salomon indicated in her original script, along with text read by the actress Vicky Krieps (“Phantom Thread,” “Corsage”), who plays protagonist Charlotte.
“We didn’t want to make a pure documentary of her,” co-director Delphine Coulin told the New York Jewish Week. “What had never been done was to make a true film with the painting, the music and the text, and to imagine what Charlotte was visualizing when she was painting… Because the neighbors said they could hear her singing while she was painting.”
French sisters Muriel Coulin, left, and Delphine Coulin are co-directors of “Charlotte Salomon: Life and the Maiden.” (Richard Schroeder)
These days, Salomon — who died at Auschwitz at age 26 in 1943 — is something of a cult favorite among art lovers and Jewish historians. In a 2017 New Yorker article, writer Toni Bentley notes that “Life? or Theatre?” is “the largest single work of art created by a Jew during the Holocaust.” She is also sometimes compared to Anne Frank. Critics have noted this comparison does neither artist justice, distinguishing between the youthful directness of Frank’s writing as an adolescent in hiding with the more mature, sophisticated representations made by Salomon as a young artist.
Born in Berlin in 1917, Salomon grew up in a cultured German Jewish family. Her mother died when she was 8. She studied at the German capital’s prestigious Academy of Arts until the Nazis’ rise to power made it impossible for her to continue. In 1938, her father spent a brief period in an internment camp — after his release, he sent his daughter to stay with her grandparents in the south of France, where he hoped she’d be safe.
After Salomon’s arrival at Villefranche-sur-Mer in 1939, her grandmother attempted suicide and eventually died. Only then did Salomon learn that her mother had died by suicide as well, and that the women in her family had a history of depression (though it isn’t covered in the film, there is some evidence that her grandfather may have been abusive).
In “Life? or Theatre?” Salomon writes: “My life began when my grandmother ended hers, when I learned that my mother too had ended her life, and that deep down I felt the same predisposition to despair and death. I thought to myself: either I kill myself too, or I create something really crazy and extraordinary.”
For the next two years, Salomon did just that, creating some 1,300 paintings about her life in exile. She accompanied these paintings with text and musical cues that included Bach, Schubert, Mahler and the German anthem “Deutschlandlied,” creating an entire multimedia body of work.
As the Nazi grip tightened in France, Salomon, realizing the danger she faced, brought a box containing all her paintings to a friend, the town’s doctor. The film recounts what she tells him: “Take care of it. This is my whole life.” Just weeks later, Salomon, five months pregnant, was sent to Auschwitz, where she died on Oct. 10, 1943.
While Salomon’s work includes depictions of Nazis, antisemitism and persecution, the majority of “Life? or Theater?” — and therefore the film — is dedicated to the explosive inner life and autobiography of its creator. She explores suicide, Freudian lust, psychological distress, music, philosophy and her own artistic impulses.
Yet “Life? or Theatre?” is unmistakably a product of its time, and as such the film includes historical images of Hitler’s rise. Though the French filmmakers don’t identify as Jewish themselves, Delphine said that she and her sister have some Jewish family, and she noted the film’s content is more relevant than ever. “Antisemitism never did end, but now in France and in Europe, it is stronger and stronger than ever, since 1945,” she said. “We really see it and we talk to it nearly each day. We can’t ignore it.”
“With all these strange times we’re living in, Charlotte gives you strength, because she really crossed the times with a strong belief in art and love,” she added.
The film ends with astonishing footage from the early 1960s of Salomon’s father and stepmother, who survived hiding in the Netherlands, looking through their daughter’s paintings as they are interviewed about her. “I was surprised when I discovered her work,” says her father Albert Salomon. He had known nothing of his late daughter’s project until the couple visited Villefranche-sur-Mer after the war, hoping to find some traces of Charlotte’s life.
“The work is very, very vivid — very expressive of life in all its aspects,” said Delphine of Salomon’s art — and the Coulin sisters, in turn, were inspired to bring the work to a broader audience. In 2019, Muriel directed her first theater piece, “Charlotte,” a rendition of Salomon’s work for the stage that played in Paris at the Théâtre du Rond Point. When the COVID-19 pandemic shut down the production, the Coulins transposed their medium to film.
Delphine added that they were also drawn to what she called the “poignant story” of Salomon’s brief life, now immortalized by her singular creative impulse in the face of adversity.
“In difficult times — and her times were probably the most difficult times ever — she really believed in art,” she said. “How art makes you survive. How it can give you a piece of eternity. We wouldn’t speak about her this way if she had not been able to make this wonderful work.”
“Charlotte Salomon: Life and the Maiden” will screen on Weds., January 18 at 12:00 p.m. and 6:00 p.m. at the Walter Reade Theater at 165 West 65th St. For additional information on the New York Jewish Film Festival, which runs through Monday, January 23, click here.
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Prized Sketchbook at Palace of Versailles Was Stolen by Nazis During WWII, Investigation Reveals
The Palace of Versailles. Photo: Sandrine Marty / Hans Lucas via Reuters Connect
The Palace of Versailles said it will conduct further research into the origins of a sketchbook owned by French painter Jacques-Louis David after a recent investigation revealed that it was stolen by the Nazis during World War II before joining France’s national collection.
Radio France said on Monday that it launched an investigation into the provenance of the prized sketchbook after being contacted by a descendant of its original owner. The broadcaster said just “a few weeks” later, it had compiled enough evidence to support the descendant’s claim about the sketchbook being looted by the Nazis during the war.
The evidence relies on public data accessible online, such as diplomatic archives and the French Holocaust Memorial’s database of Nazi-stolen property. France’s Ministry of Culture admitted that both the ministry and the Palace of Versailles did not know the sketchbook was stolen by Nazis during World War II, but they vowed to “continue research on this notebook and have discussions with the descendants of the owners.”
The Ministry of Culture told Radio France that in the Palace of Versailles, a team of three people are “actively working and reviewing works in the collections to verify their provenance” but the team “had not yet examined this notebook.”
A relative of the sketchbook’s original owner took Radio France he was shocked when he discovered by chance that the Nazi-looted sketchbook was a part of the collection at Versailles. “It’s a key work by David, and the Palace of Versailles does a lot of publicity around these notebooks … So, I’m very surprised that there isn’t more research into their provenance,” he said. “At the moment, there are 100 police officers looking for jewels stolen from the Louvre while to return the works stolen – and there are many at the Louvre and other museums – I find that the means are very, very low.”
The sketchbook dates back to 1790 and includes drawings, sketches, and notes related to one of David’s most famous works, “The Tennis Court Oath” (1790), a painting about the French Revolution that was never finished. The painting belongs to the Palace of Versailles but is currently on display in the Louvre as part of its limited time exhibition that celebrates the 200th anniversary of David’s death. The sketchbook is not part of the exhibit.
German Nazi soldiers stole an entire library, including David’s sketchbook, from Professor Lereboullet in July 1940 when they occupied his home. Lereboullet’s daughter Odile reported the theft in November 1945 to the Commission for Art Recovery (CRA), a French public body responsible for recovering and returning looted pieces of art to their rightful owners or their heirs. She never received a response from the CRA. The sketchbook reappeared in January 1943, when it was sold at auction by the Karl & Faber art gallery in Munich, Germany. It came into the possession of German Jewish art dealer and art historian Otto Wertheimer. A former German professor of art history and curator at the National Museum in Berlin, Wertheimer himself fled Nazi persecution and settled in Paris in 1944. He became a well-known art dealer who provided museums with masterpieces and missing pieces of European art. He sold the David sketchbook to the Palace of Versailles in 1951.
The Palace of Versailles has previously returned only one Nazi-looted item to its original owners: a small Louis XVI era writing table that was returned in 1999.
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Israeli Singer Noa Kirel Blasts Anti-Israel Boycotts of Eurovision Contest: ‘Letting Politics Ruin the Celebration’
Noa Kirel performing “Unicorn” for Israel at the first semifinal at the 2023 Eurovision Song Contest. Photo: ESC/Sarah Louise Bennett
Israeli pop star Noa Kirel lambasted the countries that have decided to boycott the 2026 Eurovision Song Contest because of Israel’s participation, defended her country’s involvement in the competition.
On Wednesday, Iceland joined Ireland, Spain, Slovenia, and The Netherlands in announcing that it will pull out from next year’s Eurovision in protest of Israel’s participation due to its military actions in the Gaza Strip during its war against Hamas terrorists. The war started after Hamas-led terrorists carried out a deadly massacre in southern Israel on Oct. 7, 2023.
Ireland, Spain, Slovenia, and The Netherlands made their announcement last week after the European Broadcasting Union, which organizes the competition, decided to allow Israel to participate in the song contest.
Kirel, who represented Israel in the 2023 Eurovision and finished in third place, told the BBC podcast “The World Tonight” on Wednesday she was “deeply disappointed” that countries have decided to withdraw from the 2026 Eurovision, set to take place in Vienna, Austria, in May. She spoke to the podcast before news broke about Iceland’s withdrawal.
“Eurovision is a bridge, not a wall, and the heart of this competition is to connect hearts through music,” she said. “Unfortunately, some countries are letting politics ruin the celebration. Israel has not violated any rules of the Eurovision. Israel is a peace-seeking nation.”
Kirel also clarified key details about the deadly Hamas-led terrorist attack in southern Israel on Oct. 7, 2023, which launched the Israel-Hamas war in Gaza. “On Oct. 7, Israel did not attack anyone,” the singer noted. “Israel was brutally attacked in a way unseen before. Entire families were murdered, including children. Civilians were kidnapped. Israel defended itself like any other nation would do and those countries are choosing to see the opposite, to ignore the reality. And to boycott Israel – that is antisemitism. I think boycotting Israel on political fronts – it’s not just an injury to us; it’s an injury to everything that Eurovision represents.”
Kirel further noted that claims about Israel manipulating votes during the 2025 Eurovision are total “nonsense” and added, “Instead of searching for excuses for [Israel’s] success, let’s focus on music.”
Wednesday was the deadline for countries to confirm whether they will join the 2026 Eurovision or withdraw without being penalized. Eurovision Director Martin Green said, “We respect the decision of all broadcasters who have chosen not to participate in next year’s Eurovision Song Contest and hope to welcome them back soon.”
Iceland’s national broadcaster RÚV said it believes Israel’s participation in the Eurovision has “created disunity among both members of the European Broadcasting Union and the general public.”
“There is no peace or joy connected to this contest as things stand now. On that basis, first and foremost, we are stepping back while the situation is as it is,” added RÚV Director-General Stefan Eiriksson.
Israel has won the Eurovision Song Contest four times, most recently in 2018, and came second in last year’s contest.
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Columbia University Antisemitism Task Force Calls for Viewpoint Diversity on Israel, Zionism
Students walk on campus at Columbia University in New York City, US, Sept. 2, 2025. Photo: REUTERS/Ryan Murphy
Columbia University’s Antisemitism Task Force on Tuesday implored the school to foster “intellectual diversity” with respect to the subjects of Zionism and the Israeli-Palestinian conflict, concluding its fourth and final report on the origins of antisemitism on the campus.
As previously reported by The Algemeiner, Columbia University was, until the enactment of recent reforms, the face of anti-Jewish hatred in higher education in the aftermath of the Hamas-led Oct. 7, 2023, massacre across southern Israel. Dozens of reported antisemitic incidents transpired on its grounds, including a student’s proclaiming that Zionist Jews deserve to be murdered and are lucky he is not doing so himself and the participation of administrative officials, outraged at the notion that Jews organized to resist anti-Zionism, in a group chat in which each member took turns sharing antisemitic tropes which described Jews as privileged and grafting.
In its report, the Columbia Task Force on Antisemitism cited ideological conformity — as well as professors’ discussing the Middle East as would politicians framing a narrative which aims for accessibility and the swaying of democratic opinion — as an outsized contributor to the climate which yielded the slew of outrages.
“The [Columbia Faculty Handbook] is clear that [professors] should stick to the subject matter of the course and avoid political advocacy in the classroom,” the report said. “We heard from many students that an academic perspective that treats Zionism as legitimate is underrepresented in Columbia’s course offerings, compared to a perspective that treats it as illegitimate. The university should work quickly to add more intellectual diversity to these offerings.”
The task force also said that it is the university’s responsibility to reconcile viewpoint diversity —which may give voice to ideas which some deem offensive — with an American culture which prizes unfettered free speech, meritocracy, social equality, and racial and ethnic plurality, all at once. The university must not censor ideas, the report said, but it also cannot facilitate discrimination — which the American government, responding to popular outrage over racism perpetrated against African Americans, proscribed by passing the Civil Rights Act in 1964. In the 60 years since the law’s passage, lawmakers and the courts have affirmed the law’s applicability to other protected groups, including, women, sexual minorities, the Jewish people, and, among many others, Arab Muslims.
“When faculty members publish books, studies, articles, or other academic work, drawing on their expertise and using the methodologies of their disciplines, this work generally should be protected, even if it offends other members of our community, so long as it does not violate antidiscrimination laws,” the report continued. “We recommend seeking ways to comply with antidiscrimination laws that do not limit offensive speech. In some cases, for example, the university may be able to respond to offensive speech by condemning it instead of limiting it.”
It added, “Admittedly, condemning speech might at times be in tension with a commitment to institutional neutrality. Yet, when a university is faced with a choice between limiting speech, on the one hand, or condemning it, on the other, the latter strikes us as a less restrictive response.”
Even as it pursues a policy of “no orthodoxies,” the university must also protect itself from “outside influence” which may, for political purposes, demand its adoption of a particular viewpoint, the report continued. Donors, federal and state governments, or American voters, whose agents of action are their representatives in government, all “present challenges to academic freedom.”
In a statement, Columbia University president Claire Shipman thanked the task force for its work and said the university will “work on” translating its recommendations into policy.
“The work of this task force has been an essential part of the university’s efforts to address the challenges faced by our Jewish students, faculty, and staff,” Shipman said. “We have also been working this semester to focus on discrimination and hate more broadly on our campuses — which has long been a strong recommendation of the task force. All of this work must become part of our DNA.”
As previously reported by The Algemeiner, Columbia University agreed in July to pay over $200 million to settle claims that it exposed Jewish students, faculty, and staff to antisemitic discrimination and harassment — a deal which secured the release of billions of dollars in federal grants the Trump administration had impounded to pressure the institution to address the issue.
Claiming a generational achievement for the conservative movement, which has argued for years that progressive bias in higher education is the cause of anti-Zionist antisemitism on college campuses, US Secretary of Education Linda McMahon said the agreement included Columbia’s pledging to “discipline student offenders for severe disruptions of campus operations” and “eliminate race preferences from their hiring and admission practices and [diversity, equity, and inclusion, or DEI] programs that distribute benefits and advantages based on race” — which, if true, could mark the opening of a new era in American higher education.
“Columbia’s reforms are a roadmap for elite universities that wish to retain the confidence of the American public by renting their commitment to truth-seeking, merit, and civil debate,” McMahon added. “I believe they will ripple across the higher education sector and change the course of campus culture for years to come.”
Follow Dion J. Pierre @DionJPierre.