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Charlotte Salomon Photo

Charlotte Salomon

German Painter

Movement: German Expressionism

Born: April 16, 1917 - Berlin, Germany

Died: October 10, 1943 - Auschwitz, Poland

Charlotte Salomon Timeline

Important Art by Charlotte Salomon

The below artworks are the most important by Charlotte Salomon - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Self-portrait (1940)

Self-portrait (1940)

Artwork description & Analysis: One of the few remaining works from Salomon before she embarked on the creative journey that would become Life? or Theater?, this self-portrait dates to around 1940, when the artist was living in exile in southern France. Salomon represents herself as if on guard; the central focal point of the painting shows her locking eyes with the viewer in a sideways glance, simultaneously captivating the viewer and conveying a sense of reserved wariness on her part. Her expression is somber, and the stark contrast between the ochre and blue tones combine with the empty background to create a sparse scene. The cropping of the image at the artist's shoulder withholds any further information about her body and her environment from the viewer, reflecting a skillful use of the framing device to restrict the viewer's attention to the details of her countenance alone, forcing a more engaged contemplation of her emotions and their sources.

Around the time of this self-portrait, Salomon's grandmother committed suicide, and Salomon found out about the history of suicides in her family, including her own mother's. Additionally, Salomon and her grandfather were arrested and sent to the Gurs concentration camp. Despite the personal hardships and emotional toil Salomon encountered, her work continued to demonstrate her artistic talent and motivation. With only a few clear and simple lines and three colors, she was able to convey her inner turmoil underneath the restrained facade. Her self-portrait affirms the power of an artist to use limited means in order to convey great awareness and strength in the face of internal tension and external antagonism.

- Jewish Historical Museum, Amsterdam

Sheet 4175 from Life? or Theatre? (1940-1942)

Sheet 4175 from Life? or Theatre? (1940-1942)

Artwork description & Analysis: Part of the Prelude section in Life? or Theatre?, this scene was inspired by a vivid childhood memory for the artist. Depicting herself as the character Charlotte, Salomon presents Charlotte in bed with her mother, Franziska. Salomon's mother used to tell her daughter how beautiful Heaven was, promising that she would go there one day and become an angel, and send Salomon a letter telling her everything about it, as her daughter requested. In reality, Salomon waited a long time for this letter before understanding the truth of death and finally grieving the loss of her mother.

The memory becomes a dreamy scene that floats upon a swirling blue background. The space is clearly divided in three parts. In the first part, on the bottom left, Charlotte and her mother are shown talking to each other in a large bed with a deep red cover. The daughter is embraced tenderly by her mother. Next, Franziska appears in the center of the page floating upward, with the image of her body repeated in sequence along the ascending line toward the rendition of Heaven at the top of the page. Heaven is painted as a gathering of individuals spread horizontally across the top of the page, with God at the center greeting Franziska at an open doorway. In the final part in the lower right of the page, Franziska appears as an angel to deliver a letter through the window to her daughter. Below the window is an image of Charlotte leaning over her mother in another bed, perhaps her mother's deathbed, something that the artist herself would never have experienced in real life.

Salomon uses an overlay technique for this scene, layering transparent sheets with text on top of the painted page, which is typical for much of the work comprised within Life? or Theater? Throughout the beginning Prelude section, Salomon includes captions, often with musical instructions, lyrics, and other text spread across the page in unusual, curving lines that occasionally turn into images in their own right. For this scene and its immediate predecessor in the collection, Salomon has chosen a Christmas carol called "The Christmas tree is bright with candles" as the musical tune to which this moment is set. On a separate sheet of tracing paper, the artist writes the narration: "FRANZISKA. 'In Heaven everything is much more beautiful than here on earth - and when your Mommy has turned into a little angel she'll come down and bring her little lambkin, she'll bring a letter, telling her what it's like in Heaven, what it's up there in Heaven.'" This text on the transparency duplicates the movement of Franziska traveling upward from the bed to Heaven and back down to the window, blurring the distinctions between the imagery and the text when laid over the painted page. Salomon transforms a deeply intimate memory of her late mother and her childhood self into an imaginative interplay of imagery, text, and even music, returning to painful emotions while embracing the myriad ways that art allows for creative expression and personal healing.

- Jewish Historical Museum, Amsterdam

Sheet 4304 from Life? or Theatre? (1940-1942)

Sheet 4304 from Life? or Theatre? (1940-1942)

Artwork description & Analysis: Salomon begins Act Two of her visual saga with the rise of Nazism and its accession to power in Germany. On January 30, 1933, Salomon was sixteen when Hitler was named chancellor of Germany and the Nazi party increased its power in the German government. A stark contrast from the family scenes of her childhood in the preceding section of Life? or Theater?, here Salomon bombards the viewer immediately with the overwhelming image of the Nazi brown-shirts parading in victory. She depicts the brown-shirts in the street as an unstoppable human wave, forming an anonymous and faceless mob that pushes forward toward the viewer. Interrupting the sea of soldiers is a single red flag, raised high above their heads and waving with vigor. The flag contains the easily recognizable swastika, the symbol adopted by the Nazis; yet, Salomon turns the swastika backwards, as if rotating in reverse. Hovering in the center of the page is also a patch of white paint with the date clearly written in black ink to mark the historic day.

Salomon captures both the excitement of the crowd and the fear that it provoked among the Jewish community. The musical tune accompanying this scene was a popular celebration of the swastika, which Salomon provides in a caption: "The swastika - a symbol bright of hope -The day for freedom and for bread now dawns." As Monica Bohm-Duchen points out, the text that Salomon attaches to her images "complicates and enriches" our readings of the scenes depicted. In this case, Salomon's inclusion of the song lyrics that announce the arrival of freedom and abundance with the Nazi symbol highlights how some Germans welcomed this moment in time as an opportunity to regain political and economic success. At the same time, this announcement threatens the safety of other Germans, namely the Jewish population. As members of this threatened group, Salomon and her characters were clearly excluded from this celebratory gathering, marking this date instead as the moment when their lives would never be the same. As such, Jewish individuals are completely absent from Salomon's image, leaving us with the sobering realization of what is to come.

- Jewish Historical Museum, Amsterdam

Sheet 4608 from Life? or Theatre? (1940-1942)

Sheet 4608 from Life? or Theatre? (1940-1942)

Artwork description & Analysis: In the main section of the work, the character Amadeus Daberlohn appears. His name, translated as "Penniless Amadeus," disguises the true identity of the individual this character is based on, Alfred Wolfsohn. Wolfsohn was generously hired by Paula Lindberg, Salomon's stepmother, as her vocal coach, yet his presence in Salomon's household had a much greater impact than originally intended. By Salomon's account seen through her work, Wolfsohn became her first true love interest in her teenage years. As her lover, he encouraged her artistic talent and education, sharing his beliefs on topics ranging from philosophy, music, and art. On this page, we see his thoughts in his own words, flowing across the chests of the images of Daberlohn that fill up the entire page. His image is repeated sixty-two times, organized in seven horizontal lines. Salomon uses this process of repeated bust images several times within this section to represent her lover's monologues and teachings. On the one hand, this insistent repetition of his countenance reveals an unrestrained obsession on the part of the artist, who recreates his image time and again in an attempt to hold on to him even in exile. On the other hand, the seemingly endless flow of faces mocks the music teacher, as if he is unaware that his teachings can turn into dull droning.

On this particular sheet, Daberlohn discusses two paintings made by Charlotte, using her works as an opportunity to expound on his ideas about art and the philosophical lessons from Nietzsche, a common topic of conversation between the two lovers. Her two paintings, titled Death and the Maiden and The Meadow with Yellow Flowers, force Daberlohn to confront "two different female spiritual states," namely despair and hope. Daberlohn sees these opposing states coming into harmony, acknowledging the close relationship between these two emotions as one often feeds into the other in what he terms "the completion of a circle." For her part, Salomon offers a way to find hope from despair by recalling her lover's face and words in such imaginative detail. Salomon reveals her intimate knowledge of her subject in a tumbling sequence of faces that overwhelms the viewer with several pages of musings on art, emotions, and the intense relationship between young Charlotte and the older Daberlohn.

- Jewish Historical Museum, Amsterdam

Sheet 4860 from Life? or Theatre? (1940-1942)

Sheet 4860 from Life? or Theatre? (1940-1942)

Artwork description & Analysis: On this page, Salomon begins the difficult narration of the history of suicides in her mother's side of the family, told from the voice of the grandfather. Salomon depicts her grandfather lying in bed, confessing to Charlotte not only that her relatives committed suicide - from her own mother, her late aunt and namesake, to her Grandma's mother - but also how they took their lives. As with other paintings in this third section of the opus, called The Epilogue, Salomon has included the text directly on the image rather than overlaying it on a different, transparent page, as if the image and narrative can no longer be separated in any way.

The old man is dressed in white, matching his long white beard, white top portion of the bed cover, and white background. He wears a serious but surprisingly serene look on his face. The combination of color and expression gives the scene an odd tranquility considering the subject matter at hand. What's more, at the time Salomon painted this work, she was not living with her grandfather anymore, preferring only to visit him occasionally. Even so, she portrays him kindly, knowing her growing resentment towards him over time, enough to compel her to poison him and end his life eventually.

Once more, Salomon has transformed a troubling personal memory into a unique interplay of text and image. The angle of the Grandfather and the lack of background imagery removes the illusion of depth in the space, flattening the scene and compressing it within the rectangular frame. Further eliminating any spatial realism, the text hovers overhead, winding its way across the blank space at the top of the page and around the head and shoulders of the grandfather, spilling onto the bed at the bottom right side of the page. Unlike pages in the earlier sections of Life? or Theater?, which had musical directions and accompanying melodies, this scene and those around it offer elements like rhythm and tempo through the actions of the readers themselves. As the words spill forward and even encroach upon the images, the story is hurried, as if it cannot be restrained to orderly captions. As such, the tempo of the story increases and is timed to coincide with a dramatic revelation. The artist skillfully shares her adept understanding of musical, textual, and visual composition.

- Jewish Historical Museum, Amsterdam

Sheet 4925 from Life? or Theatre? (1940-1942)

Sheet 4925 from Life? or Theatre? (1940-1942)

Artwork description & Analysis: Following several pages of text without imagery, this painting is the final page of the entire work. We see Charlotte seated, her legs curled up underneath her, facing the Mediterranean Sea. She wears an olive-green bathing suit, exposing much of her body, which is given a tawny orange hue accented with bright red brush strokes. Her head tilts downward, focusing her gaze on the painting she holds in her lap, over which hovers a paintbrush in her right hand. She seems absorbed by her art. Emblazoned across her bare back are the words Leben oder Theater (Life or Theatre), transforming this portrait into a title page and a final declaration at the same time.

Oddly, the painting in Charlotte's lap is transparent, revealing both her body and the sea within its subtle frame, as if the distinctions between Charlotte's art and the world around her have dissipated. Just as the line between fiction and reality have been blurred throughout the entire saga, the art here eliminates any difference between what the artist shows and what she sees. As Rachel Withers observes, "the surface of her work has dissolved; representation and life have apparently melted into one another in an ideal union." Even so, the weight of Charlotte's life story and artistic labor makes her experience difficult rather than ideal in many ways. And Withers recognizes that "the precarious relation of 'fact' and 'fiction' is a vicissitude to be negotiated painfully; feelings do not spill out, spontaneously, into paintings." Withers reminds us that although Salomon presents her readers with an astonishing narrative in imagery and text, we must be wary of how much to believe as autobiography and how much to interpret at the inspired imagination of a talented artist. In the final image, both the fictional Charlotte and the artist Salomon are looking ahead to the future, finally at peace after having chosen life over death through art.

- Jewish Historical Museum, Amsterdam



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Charlotte Salomon Photo
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Content compiled and written by Pich-Chenda Sar

Edited and revised, with Synopsis and Key Ideas added by Meggie Morris

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Pich-Chenda Sar
Edited and revised, with Synopsis and Key Ideas added by Meggie Morris
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