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It is without a doubt, that artwork is one of the go-to's for sources when looking at any type of historical event. Wars, and events leading up to them, often feature artwork that depict the opposition in a darker, harsher light, in an attempt to rally support for their own side. However, artwork can be used for more purposes than just propaganda. Artwork can be used to depict emotion. Whether it be joy, sadness, horror, guilt, or regret, artists can find invigorating and emotional ways to encapsulate said emotions in their artwork. One such example of this would be User's Painting.

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The autobiography and memoir, 'The Death Of A City', was written in the early 1940s by Szpilman, a Warsaw ghetto survivor, and originally published in 1946, before being censored by the Communists in the midst of their Soviet power. In a turn of events, however, his son, Andrzej, discovered Szpilman's manuscripts in his attic that the book was re-published in 1998 and led to the creation of 'The Pianist', a globally-known and well-received historical film, retelling Szpilman's horrors. Without Szpilman's original memoirs, his journey and experiences under the tyranny of the Nazi party being pressed onto paper, his story may have gone unnoticed.

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Published by Spoldzielnia Wydawnicza, Warszawa [Warsaw], 1946

About this Item

First edition of Szpilman's memoir of occupied Warsaw, basis for The Pianist. Fragile book with chipping and some paper loss along edges. Spine is cracked in places though binding is holding. Moderate toning to pages. Library stamps to first three recto pages and one page at rear. Given its fragility still fairly well preserved. Seller Inventory # 001319
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Smierc Miasta [The Death of A City, basis for The Pianist]

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1st Edition - Soft cover - Spoldzielnia Wydawnicza, Warszawa [Warsaw] - 1946 - First edition of Szpilman's memoir of occupied Warsaw, basis for The Pianist. Fragile book with chipping and some paper loss along edges. Spine is cracked in places though binding is holding. Moderate toning to pages.

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The importance of literature and art in preserving the past is an understatement in itself. There are countless forms of literature and art that explore this concept of preservation. Seen through images, videos, retellings from people who lived during the periods in question. However, there are also more arguably in-depth ways to examine a war, which is entirely up to the interpretation of the viewer. Such an example of which this section will explore is the significance of music.

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Władsyław Szpilman was a Polish Pianist, born in 1911 in Sosnowiec, south Poland. (Szpilman, 2019, pp. 2) Szpilman studied music in Berlin, before successfully becoming a composer and musician for the Polish radio by 1939. (Szpilman, 2019, pp. 3) Szpilman was well-known for his interpretations of classical compositions by famous composers such as Beethoven, Mozart, and Rachmaninoff. Despite his renowned status as a famous musician, he and his family were persecuted by the Nazi party during the 5-year period of WW2. (Szpilman, 2019, pp. 18) Szpilman and his family were situated in Warsaw by the time the German bombs fell in 1939, unfortunately feeling the full force of Nazi oppression due to his Polish background. (Szpilman, 2019, pp. 5)

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"The Pianist" hero - Wladyslaw Szpilman Interview by David Ensor Peter Jennings ABC

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"The Pianist" hero - Wladyslaw Szpilman Interview by David Ensor Peter Jennings ABC

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This interview conducted by David Ensor and Peter Jennings on ABC News details a short yet descriptive personal account from Wladyslaw Szpilman in regard to his experiences under the harsh treatment of the Nazi party in Warsaw. Szpilman goes on to speak in regard to how music helped him get through the war, and subsequently inspire him to compose pieces that reflect his experiences during the war period. One notable piece would be Szpilman's 'Concertino for Piano and Orchestra', also mentioned within this video. This source is significant to the title of the project, as it provides the reader with a first-hand account of the events that took place within the Warsaw Ghetto, stating the overall importance of preservation of specific accounts in relation to historic events.

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"The Pianist" hero - Wladyslaw Szpilman Interview by David Ensor Peter Jennings ABC

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The Pianist - Roman Polanski`s hero Wladyslaw Szpilman www.thepianist.info in the interview with David Ensor of ABC TV on 17th January 1985 - featuring anchorman Peter Jennings ( www.szpilman.net )

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Concertino for Piano and Orchestra (1940)

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Concertino for Piano and Orchestra (1940)

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The composition simply titled 'Concertino for Piano and Orchestra' by Wladyslaw Szpilman was originally composed in 1940, however not published until after the Second World War due to Szpilman hiding in Warsaw at the time due to his Polish-Jewish heritage. This composition was intentionally composed to reflect Szpilman's experiences of the war. Going from a happy, modest and upbeat tone, purposefully reflecting life in Warsaw before the dropping of the bombs in 1939, using crescendos to signify the collapse of society under the hands of the Nazi party, to then depressive, monotone-like Piano symphonies utilized to reflect the state of Warsaw and more importantly Szpilman himself during the war. The composition then begins to gradually pick up pace until it becomes peaceful once more, signifying the end of the war and healing, very clearly showcasing an honest yet interpretative personal account of Szpilman's suffering due to his background as per the treatment issued by the Nazi party in Warsaw toward ethnic minorities during the period of WW2, as it is uncharacteristically upbeat to provide a warmth and comfort in a time where those things were taken from him. "Completed in the Warsaw Ghetto in 1940, the work is characterized by an unexpectedly cheerful, almost swinging mood... it is a "real Szpilman" in its superior instrumentation and reliable sense of style concerning the prevailing taste." according to Boosey & Hawkes (Link in final section), a reliable music production company writing a short review about Spzilman's composition further reinforces this viewpoint, that the piece is crafted to reflect his own experiences during the Second World War, and provide hope in a seemingly hopeless time.

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An Extract from 'The Death Of A City' - Szpilman (1946)

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An Extract from 'The Death Of A City' - Szpilman (1946)

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"By 31 August 1939 everyone in Warsaw had been sure for some time that war with the Germans was inevitable. Only incorrigible optimists had still cherished the delusion that Poland‘s determined stance would deter Hitler at the last moment. Other people‘s optimism manifested itself, perhaps subconsciously, as opportunism: an inherent belief, in defiance of all logic, that although war was bound to come – that had been decided long ago – its actual outbreak would be delayed, so they could live life to the full a little longer. After all, life was good." (Szpilman. P.26) - This extract from the first chapter of Szpilman's memoirs very clearly outlines that hopelessness and high levels of tension that himself and others in Warsaw felt in the run-up to the Second World War, creating an atmosphere of detriment to accurately portray the emotions of those who witnessed these events first-hand, showing how valuable literature can be in relation to preserving interpretations of the Second World War, as it retells from a personal perspective which is something a documentary or secondary source would be unable to portray due to the distinctive and intimate level Szpilman's autobiography shows, being a memoir written for himself.

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An Illustration from the Jewish Historic Institute archives, Artists of the Ghetto.

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Rozenfeld, "Punkt etapowy" (Etap point) - An illustration of Jewish treatment within the Warsaw Ghetto

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Rozenfeld, "Punkt etapowy" (Etap point) - An illustration of Jewish treatment within the Warsaw Ghetto

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The following illustration is one of very few illustrations that survived the Warsaw Ghetto. Many artworks depicting the cruel and inhumane lifestyle forced upon those in the Ghettos by the Nazi party were lost due to being taken with the authors to the death camps. This illustration depicts a German authorative figure, recognisable by the armband and attire he is wearing, looming over a group of presumable Jewish citizens of Warsaw. At first glance, this illustration might not have much surface meaning, however the underlying surface meaning arguably tells an interpretation of life under the harsh treatment of the Nazi party. When looking at the group huddled together, it is of note that their physiques are bare, almost skeletal. This was very typical of those who were stuck within the Ghetto, as quite often people would starve and even die of starvation in the streets. It's also important to note the baton that the German is carrying behind him, arguably nodding toward the brutality of the German forces against those who were stuck within the Ghetto, something of which has been recorded time and time again. The woman to the right at a glance appears to not care about this looming threat over the children, which is a suggestive nod toward the lack of hope that people felt whilst within the Ghetto itself. One more important thing to note is the overall colour of the illustration itself. It is very greyscale/monotone, attempting to reflect the gloominess and harsh conditions that the Jewish community faced at the time. This illustration is but one example of art that clearly preserves a specific account of treatment under the Nazi party, stressing the significance of key works of art in retelling the harsh conditions of the Warsaw Ghetto.

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Opportunity, Honor, and Action in the Warsaw Ghetto Uprising of 1943 (Einwohner, Rachel L.)

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Opportunity, Honor, and Action in the Warsaw Ghetto Uprising of 1943 (Einwohner, Rachel L.)

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Opportunity, Honor, and Action in the Warsaw Ghetto Uprising of 1943 on JSTOR

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Rachel L. Einwohner, Opportunity, Honor, and Action in the Warsaw Ghetto Uprising of 1943, American Journal of Sociology, Vol. 109, No. 3 (November 2003), pp. 650-675

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Scholarly criticism is often referred to for insight into a particular event is it offers a different perspective from established historians, and can even go into great depth on a specific topic through an number of angles. This journal written by Einwohner goes into detail in regard to the Warsaw Ghetto Uprising of 1943, not only criticizing it from a historical perspective, but also through a multitude of humane perspectives such as morality, of which are often overlooked when recalling events of the past. Perspectives such as these arguably offer a deeper insight into the events themselves and subsequently allow historical scholars such as myself and (hopefully) you to observe events through the eyes of others.

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Einwohner delves deep into the morality of the Jewish uprising within the Warsaw Ghetto, interpreting it through a historical perspective, also relying on other historical scholars accounts of the topic in question to support his points and evidence. More specifically, using macrolevel theories of established scholars to back up his own claims, using the Warsaw Ghetto Uprising as an example to iterate that the collective action displayed in the Uprising was not a product of opportunity, but in fact a lack thereof. Although this is the over-arching goal of Einwohner's scholarly critical analysis of the Warsaw Ghetto, it is not specifically focused on it. In order for Einwohner to elaborate, they first have to give background information, of which Einwohner then refers to other critics who are established historians. For example, the general background information of the Warsaw Ghetto came from Yisrael Gutman, an established historian who specifically specialises in Polish history, making his sources an extremely credible one. Gutman published 'The Jews of Warsaw, 1939–1943.' (1982) of which delve into great depth in regard to the significant events within the Warsaw Ghetto, and events leading up to it. The scholarly criticism of Einwohner, and using other criticism to support their points, is arguably an extremely important factor in preserving the accounts of historical events, such as the treatment of the Jewish community in Poland. It is significant due to the volume of research, backed by historians and scholars who have researched that particular topic for years, making scholarly criticism an arguably significant source of literature, when concerning the preservation of historic accounts.

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Introduction to the Warsaw Ghetto & Nazi treatment of the Jewish community in Poland

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Introduction to the Warsaw Ghetto & Nazi treatment of the Jewish community in Poland

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In 1939, Germany divided Poland into three individual sections following a successful invasion. The North and West region of Poland subsequently became a part of the Reich, including Warsaw, of which this digital project is centralised. The Jewish community faced Nazi repression immediately after the invasion and were not permitted to work in certain business or even own businesses in some cases. They were given a strict curfew, and in December of 1939, were required to wear an armband to showcase their nationality. (Gutman 1982, p 29).The Warsaw Ghetto in particular was announced to the regions in Poland on the 12th of October, 1940, and actualised on the 16th of November. (Gutman 1982, 1994)

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'Szpilman’s memoirs described how he was met nightly by his mother “with a bowl of spirits and pair of pincers” to remove and destroy lice that he picked up during the day (1999, pp. 18–19).' (Einwohner, 2003, pp. 8) This extract from a scholarly article reviewing the Warsaw Ghetto and it's extensive history (Link on final slide) details the horrors that Szpilman was subjected to, something that we as readers would be unable to understand without a direct account from Szpilman himself, once again stating the significance of these first hand accounts when reviewing historic events such as the Warsaw Ghetto and the Nazi party's treatment of the Jewish community during this time period.

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It can be more than consolidated, through not only my evidence deposited into this digital project in front of you, but through numerous other types of sources, that the signficance of literature and art in perserving the accounts of historical events such as the period of WW2 is extremely understated, and even more significant. It is more than evident that the multitude of sources provided give a unique insight into the events that unfolded during the Second World War within the Warsaw Ghetto, as opposed to a secondary source written by a historian. Reading about a historical event from a textbook is one thing, however reading it through the eyes of talented artists like Wladyslaw Szpilman, who dedicated a composition to describe the horrors and emotions of the Ghetto. Or the unnamed artists of the Warsaw Ghetto, who illustrated the unjust treatment the Nazi party enacted upon the Jewish community. These interpretations of historical events offer more than any textbook could, allowing contemporary historians to consider a multitude of aspects as opposed to just a general outlook on the history of the war itself.

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Link to the Critical Analysis for ease of access + all scholarly sources and other sources utilised within this Digital Project.