Dina Gottliebova Babbitt and the Failure of Auschwitz

The more research I do into the watercolor paintings by Dina Gottliebova Babbitt, the more I am astonished at man's capacity for cruelty, his total disregard for the well-being of his fellow man, and his eagerness to ignore the truth, to remain blind to reality due to bias and race, two useless ideologies.

I wish I were talking about Nazi Germany and the beginnings of Auschwitz when Mengele was free to carry out his pseudoscientific experiments and the gas chambers were functioning , but I am not. I am referring to current events in our time, events occurring daily.

Dinah Gottliebova was a 19 year-old Jewish Czech art student in Prague when she and her mother were arrested and later sent to Auschwitz. Dinah had always been interested in art and while at Auschwitz, she was asked to paint murals on walls to help calm frightened children. She painted characters from the last movie she had seen before her arrest, the figures of Disney's Snow White and the Seven Dwarves.

The mural got the attention of SS Captain Dr. Josef Mengele who needed an artist to help him with his work. He called for Dinah and ordered her to paint portraits of subjects who were to be sent to the gas chambers. He wanted the color of their skin to be represented and he found the new science of color photography lacked the ability to capture the subtle tones. Color film was in its infancy and was very unreliable. The primary colors tended to be too bright, making it impossible to capture true colors and images Dr. Mengele needed for his research.

He ordered Dinah to paint and she agreed if he would spare her and her mother. He agreed and Dinah set up shop. She also painted portraits for other officers, usually from photographs they brought to her. One day she was asked to paint the portraits of seven Roma who were to be sent to gas chambers. Dinah complied.

Auschwitz was liberated and Dinah and her mother went to Paris where she met an American artist, Art Babbitt. Coincidentally, Art had worked on Snow White and the Seven Dwarves and the couple fell in love and were married. They lived in California where Dinah Gottliebova, now Dina Babbitt, worked for various art studios with her husband.

In 1973, she was contacted by Auschwitz and told they had found the watercolors of the seven Roma victims. Dina flew to Poland to collect her work, but was told by Auschwitz curators that they believed the art was too important to be separated from the collection and they intended to keep it. Devastated, Dina returned home and began a lawsuit that would go all the way to Congress.

In 2002, Congress declared the watercolors were the rightful property of Dina Babbitt and asked the Secretary of State and the President to work with the Polish government to convince Auschwitz t return the watercolors to Dina. Dina passed away in 2009 and as of this writing, Auschwitz-Birkenau still has the watercolors which are not, to the best of our knowledge, on public display. Dina's heirs continue her fight to have the watercolors returned to her.

Enter the Deniers. These racists follow the same principles as the Nazis and would love to see the Jews, Rromani, and other 'lower forms of life' destroyed, yet they deny the Holocaust ever happened. It was once thought that if Holocaust scholars gave any attention to the Deniers, that their ideas would eventually fall by the wayside. It was also believed that arguing with them gave credence to their arguments, but thank goodness Holocaust institutions no longer believe this is the case. Deniers have increased in number as they spread their hate and stupidity to the younger generations.

The Deniers claim that this case is yet another piece of evidence that the Holocaust never happened. You will need to hold on tight for this leap of logic because it gets very bumpy.

Deniers claim three points against this story. Let's take a closer look at them.

1. Children were not allowed at Auschwitz. Why was the Snow White mural necessary if children were not permitted to live at Auschwitz?

Answer: Children were often used in Mengele's experiments. He often used twins or Rromani children in his experiments. Children were easily managed and placated and were just as easily disposed of. Children as young as 12 and 13 were put to work alongside adults in forced labor brigades as well, sometimes needed because of their small size for tunneling work. Not every child was disposed of the moment they arrived at Auschwitz. Reading Mengele's work proves this. Also, when their was a "Gypsy" family camp at Auschwitz, families were allowed to remain together since the Rromani often fought to keep their children. The SS knew they were outmanned at Auschwitz and could not afford a riot. To keep the peace, they kept Rromani families together.

2. Mengele claimed color photography could not capture the colors he needed. Color photography should have been better than watercolors.

Answer: Color film, even Kodachrome, was not an exact science. Certain colors dominated the resulting picture while other colors were washed out. If Mengele were after specific colors and hues, color film would not have benefited him.

3. If the Holocaust did happen, as Auschwitz supposedly claims, then its survivors should be treated with respect. If Dina Babbitt was the creator of the watercolors, shouldn't Auschwitz show her the respect she deserves and return them to her? How can seven portraits be so important to the collection?

Answer: While I disagree with Auschwitz's claim on the portraits, I can understand their logic. From a historical context, everything at the Museum is critical to represent and educate visitors on the daily life in the camp. Also, the Museum has (I hope) spent a lot of money to ensure the paintings are protected and preserved, money that would be wasted if the paintings were to fall apart at the hands of a lesser experienced institution. I will point out here that it was Dina's wish that the paintings go on display at an American museum, so I would assume such a museum would have the necessary funding and resources to protect and preserve the watercolors. In short, the museum views these as artifacts, needed for educational use. If they were on display, I might have more sympathy for their argument.

While I fully support the Auschwitz-Birkenau State Museum as an institution for preserving not only the truth and history of the Holocaust, but the memory of those who were murdered there, I feel their handling of this case is sad and unreasonable.

Other Holocaust museums, including the United States Holocaust Memorial and Museum, have used replicas and recreations in their collections to maximize the experience and education of every visitor to their museums. Visitors understand that there are few objects remaining from the Holocaust and therefore they would be understanding and mindful if copies were used.

Auschwitz could easily return the paintings to their rightful owner and use replicas in place of the real ones. There is no need to victimize Dina a second time. Auschwitz, above all other institutions, should be more in tune to the needs and emotions of the survivors. I hope that Auschwitz will realize the damage they are doing and allow the paintings to be returned to the Babbitt family.