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Walter Spitzer
Walter Spitzer
Walter Spitzer
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Walter O. Spitzer (1937–2006) was a Canadian epidemiologist and professor of epidemiology and health at McGill University, a position he held from 1975 until his retirement in 1995.[1]

Key Information

Early life and education

[edit]

Spitzer was born in Asuncion, Paraguay on February 19, 1937. He was the eldest son of Paul Rosenberg and Elsa Spitzer,[2] both of whom were Baptist missionaries.[3] He received his Doctor of Medicine degree from the University of Toronto in 1962 and his Master of Public Health degree from Yale University in 1970.[1]

Career

[edit]

From 1969 to 1975, Spitzer was a faculty member at McMaster University.[1] He was appointed a faculty member at McGill in 1975, and was credited with bringing its Department of Epidemiology and Biostatistics to "new, more collegial premises".[3] He chaired this department from 1984 to 1993.[4] He was the founding co-editor of the Journal of Chronic Diseases in 1982, which he and co-editor Alvan Feinstein renamed the Journal of Clinical Epidemiology in 1988. They served as the journal's co-editors until 1994.[5] Spitzer was also the chair of the Quebec Task Force on Spinal Disorders, convened in 1983.[6] He was elected to the Institute of Medicine in 1985.[7]

Research

[edit]

Spitzer was noted for his research into the potential adverse effects of oral contraceptives.[8][9] He has also been credited as a major figure in the development of the modern system of evidence-based medicine, along with Archie Cochrane and David Sackett.[10]


Death

[edit]

Spitzer died on April 27, 2006, following complications of a car accident.[1]

References

[edit]
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Walter Spitzer

View on Grokipedia
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Walter Spitzer is a Polish-born French painter, lithographer, and sculptor known for his powerful artworks that document and commemorate the Holocaust, drawing from his personal survival of Nazi concentration camps including Auschwitz-Birkenau and Buchenwald. Born on June 14, 1927, in Cieszyn, Poland, to a Jewish family, Spitzer experienced early hardship following the German invasion, losing his father and facing expulsion from home before his deportation at age 16 in 1943. He endured forced labor in Blechhammer, transfer to Auschwitz-Birkenau where he was tattooed as prisoner 178489, and later Buchenwald, surviving death marches before liberation by U.S. forces in April 1945. After brief work as an interpreter for American forces, he immigrated to France later that year, eventually settling in Paris. Spitzer studied at the École des Beaux-Arts in Paris and built a distinguished career creating paintings, etchings, lithographs, and sculptures that serve as testimony to the Shoah and other atrocities of the 20th century. His notable contributions include illustrative cycles accompanying Jean-Paul Sartre’s works and novels by André Malraux, alongside his 2004 autobiography Sauvé par le dessin: Buchenwald, which includes a foreword by Elie Wiesel. He continued advocating for Holocaust remembrance through his art until his death in Paris on April 13, 2021.

Early life

Birth and childhood

Walter Spitzer was born on June 14, 1927, in Cieszyn, Poland, to a middle-class Jewish family. His parents were Samuel Spitzer and Margaret (née Weiss). He grew up in Cieszyn, an Upper Silesian town, and attended a local German school during his childhood. Spitzer's early years were spent in this border region environment, where he developed an interest in drawing and painting from a young age. Limited details survive about his pre-war family life beyond his Jewish heritage and middle-class background, but these formative experiences occurred entirely within Poland before the outbreak of World War II.

War experiences and survival

Spitzer was deported in June 1943 at the age of 16 to Blechhammer, a subcamp of Auschwitz, where he endured the brutal conditions of forced labor and camp life. He was later transferred to Auschwitz-Birkenau and then to Buchenwald. There, he began creating drawings and paintings, starting with improvised works such as one made with a burnt stick on an empty cement bag, and later painted portraits of Wehrmacht soldiers and fellow inmates in exchange for food to aid his survival. As a prisoner in the Auschwitz complex, he produced allegorical and documentary-style artworks depicting camp life, some of which survive in collections today. He was among the few who survived the evacuation death march from Auschwitz in January 1945 amid the camp's liquidation. His experiences as a Holocaust survivor profoundly influenced his later artistic work.

Move to France and early artistic training

Following his escape from a death march near Jena and subsequent liberation by American forces in early April 1945, Walter Spitzer served briefly as an interpreter for U.S. troops while producing drawings documenting the atrocities of the camps. In June 1945, the Americans transported him to Paris, where he arrived on 26 June with few possessions: an American uniform and a crate of painting materials salvaged earlier. Now orphaned and determined to rebuild his life, Spitzer chose to remain in France and enrolled at the École des Beaux-Arts, fulfilling a childhood dream and the encouragement of his late father—who had urged him to pursue art before his death in 1940. There he received formal academic training in fine arts, which provided the foundation for his development as a painter and illustrator. During this early period in Paris, Spitzer recreated from memory many of the drawings he had made in the camps, as he had been unable to retain the originals after his deportations. This training and immediate engagement with his wartime experiences marked the beginning of his artistic career in France.

Artistic career

Early works and development of style

After his arrival in Paris in June 1945 and subsequent studies at the École des Beaux-Arts beginning in 1946, Walter Spitzer began creating paintings that expressed a critical view of contemporary society. One documented early postwar drawing, the black ink work titled "On joue papa et mama" dated June 21, 1947, allegorically depicts three children beneath a concrete bridge in a camp-like setting, representing future despair, cunning, and obliviousness resulting from wartime trauma. In 1955, Spitzer produced a significant cycle of nine intaglio etchings in a limited edition of 30, based on original drawings made shortly after his liberation and depicting the extreme dehumanization, starvation, and suffering he witnessed in camps such as Blechhammer, Auschwitz-Birkenau, Gross-Rosen, and Buchenwald. These etchings feature emaciated, often naked prisoners—including skeletal "Muselmänner"—engaged in forced labor, begging, carrying corpses, or enduring violence from guards and dogs, rendered in a stark figurative style that emphasizes physical deterioration and hopelessness. The series serves as direct testimony to the Shoah and marks an early articulation of Spitzer's commitment to documenting his experiences through art. Through these works, Spitzer developed a figurative approach characterized by dramatic, intensely human-centered themes of suffering and survival, laying the foundation for his later artistic exploration of Holocaust memory before he shifted toward book illustration in the 1960s.

Book illustrations and collaborations

In the 1960s, Walter Spitzer established himself as a prominent illustrator of exclusive, limited-edition books, creating original lithographs for deluxe publications of major literary works. Printer Fernand Mourlot recommended him to illustrate the complete fictional oeuvre of André Malraux, marking a key collaboration that featured color lithographs printed at the Mourlot presses. These included illustrations for novels such as La Voie royale (1961), L'Espoir (1961), La Tentation de l'Occident (1961), Les Conquérants, and La Condition humaine, often published by Imprimerie Nationale or Éditions Lidis. The success of his Malraux project led to further commissions, notably a cycle of original lithographs accompanying Jean-Paul Sartre's existentialist fiction in the five-volume Oeuvres romanesques (1964), also published by Lidis. Spitzer additionally provided illustrations for Joseph Kessel's Le Lion and works by Nikos Kazantzakis, contributing lithographs to high-quality editions that highlighted his technical mastery in printmaking. These illustrative projects paralleled the development of his painting career during the same period.

Paintings and Holocaust themes

Walter Spitzer's paintings are profoundly shaped by his experiences as a Holocaust survivor, serving as a powerful means of bearing witness to the Shoah and restoring dignity to its victims. His work reflects a commitment to memory, confronting the suffering endured in camps such as Blechhammer, Auschwitz, Gross-Rosen, and Buchenwald while affirming the resilience of humanity. Described as a compelling and eloquent witness to the Shoah through his art, Spitzer devoted much of his creative life to preserving the memory of Jewish persecution and extermination. Immediately after liberation in 1945, Spitzer produced numerous drawings of camp life, followed by a cycle of nine etchings in 1955 commemorating the concentration camps and death marches, which he donated to museums in Israel and France. These early graphic works testified to the ordeals he and others endured. After the Six-Day War in 1967, he turned increasingly to painting, beginning with representations of his "Jewish years" that gradually led to Biblical subjects. In this phase, Spitzer expressed a deliberate intent to revive the victims by depicting thousands of Jews across his canvases, stating that he was "giving them back their life." This approach underscores themes of remembrance, human suffering, and the affirmation of life in the aftermath of genocide. Regarded as one of the great artists of Shoah memory, Spitzer's paintings convey a truth-seeking impulse rooted in his own survival, avoiding sensationalism in favor of dignified testimony. His autobiographical book Sauvé par le dessin (2004) further illuminates how drawing and painting became instruments of survival and commemoration.

Sculptures and public works

Walter Spitzer is known for his figurative bronze sculptures, many of which function as public memorials addressing Holocaust themes and Jewish resilience. His most prominent public commission is the Monument to the victims of the round-ups of July 16-17, 1942 (also known as the Vélodrome d'Hiver monument), inaugurated on July 17, 1994, in Paris's 15th arrondissement at the Square des Martyrs Juifs du Vélodrome d'Hiver on the quai de Grenelle. Collaborating with architect Mario Azagury, Spitzer created a bronze sculptural group of seven figures—including children, a pregnant woman, and a sick man—surrounded by luggage and personal belongings, mounted on a wide curved concrete base that evokes the track of the former Vélodrome d'Hiver sports arena. The composition conveys stoicism and familial bonds amid uncertainty rather than overt suffering, commemorating the approximately 13,152 Jews (including over 4,000 children) arrested in Paris by French police and held in inhumane conditions at the velodrome before deportation to Auschwitz. The monument bears the inscription: "La République Française en hommage aux victimes des persécutions racistes et antisémites et des crimes contre l'humanité commis sous l'autorité de fait dite gouvernement de l'État Français 1940-1944. N’oublions jamais." In 1993, Spitzer submitted a design titled "Muselmann" for a competition to create a Jewish monument at the Buchenwald Memorial site, where he had been imprisoned. The work received an honorary prize for its powerful depiction of a deported Jew maintaining dignity and upright stance in the presence of death. The bronze sculpture, cast and placed in the memorial's art exhibition in 1995, portrays a staggering figure wrapped in a blanket with a bare head, clutching a Star of David as "the only source of pride that has remained to him," while a large hole in his chest symbolizes "the gaping wound of his people." Spitzer described the ambiguous fate of the figure—whether survival, emigration, fighting for Israel's independence, or death—as a reminder of the "Muselmänner," prisoners reduced to extreme emaciation and despair in the camps. This work remains on permanent view at the Buchenwald Memorial. Following the Buchenwald competition, Spitzer completed the Vélodrome d'Hiver monument in Paris, marking a significant phase in his sculptural output focused on public Holocaust commemoration through bronze figurative groups.

Personal life

Family and relationships

Walter Spitzer was married, and his wife survived him at the time of his death in 2021. The Mémorial de la Shoah extended sincere condolences to his wife and children in tribute to the artist and Holocaust survivor. He had four children: Catherine, Anne, Benjamin, and Eva Spitzer. His children publicly announced his passing on April 13, 2021, expressing their profound sadness at the loss of their father. Limited public information is available regarding further details of his marriage or extended family relationships.

Later years and death

Continued work and recognition

In his later years, Walter Spitzer continued his artistic practice centered on bearing witness to the Holocaust, creating paintings, drawings, and sculptures that explored themes of suffering, survival, and human dignity. One of his most prominent late-career contributions was the monument commemorating the victims of the Vél d'Hiv roundup, which he designed after winning a competition; the monument, featuring figures of deportees including children and elderly people, was inaugurated in Paris in 1994. He also published his memoir Sauvé par le dessin in 2004 with Éditions Favre, prefaced by Nobel Peace Prize laureate Elie Wiesel, in which he reflected on how drawing sustained him during his imprisonment and became his lifelong means of testimony. Spitzer received significant recognition for his artistic achievements and his role in preserving Holocaust memory, including appointment as Chevalier de la Légion d'honneur, promotion to Officier de l'Ordre national du Mérite, and designation as Chevalier des Arts et des Lettres. These activities and honors reflected the enduring impact of his commitment to documenting the horrors he survived through art.

Death

Walter Spitzer died on 13 April 2021 in Paris at the age of 93 from complications of COVID-19. His children Catherine, Anne, Benjamin, and Eva Spitzer announced the death, expressing their deep sadness at the loss of their father. The funeral took place privately at the cimetière parisien de Bagneux. The Association Française Buchenwald Dora et kommandos, linked to his experience as a Buchenwald survivor (prisoner number 124 465), published a tribute describing him as an immense painter, engraver, and sculptor who dedicated his life to bearing witness through art to the horrors of deportation and the camps, and offered a final farewell to "Ciao l’Artiste."

Legacy

Influence and posthumous recognition

Walter Spitzer's work profoundly influenced the visual representation of the Holocaust, offering a survivor's direct testimony that combined figurative realism with raw emotional power to document dehumanization and suffering in the camps. His drawings and later lithographs, created in fulfillment of a vow made at Buchenwald to "tell with your pencils all you have seen here," provided post-war generations with an intimate artistic record of the Shoah and other 20th-century atrocities, often drawing comparisons to Francisco Goya's Disasters of War for their unflinching portrayal of human bestiality. André Malraux, recognizing the unique capacity of Spitzer's camp-inspired aquatints to evoke historical trauma, commissioned him to illustrate novels such as La Condition humaine and L'Espoir, affirming his impact on figurative art addressing conflict and suffering. Spitzer's public monuments further cemented his role in shaping Holocaust memory, particularly through permanent installations that serve as sites of national and international reflection. His 1995 bronze sculpture Muselmann at the Buchenwald Memorial symbolizes the extreme physical and psychological exhaustion endured by prisoners reduced to near-death states, transforming personal survival into a collective emblem of Jewish resilience and unbroken pride. Similarly, his memorial to the deportation of French Jews in Paris, inaugurated by President François Mitterrand in 1994, stands as a prominent public acknowledgment of the Vél d'Hiv roundup and France's wartime deportations. Following his death on 13 April 2021, Spitzer's legacy endures through the ongoing presence of his works in memorial sites, museum collections, and occasional exhibitions that continue to highlight his contributions to Holocaust remembrance and survivor testimony. His autobiographical book Sauvé par le dessin (2004), prefaced by Elie Wiesel, reinforces his status as a compelling witness whose art remains integral to understanding the Shoah's visual and historical record.

Collections and exhibitions

Walter Spitzer's artworks are held in several major institutional collections, particularly those focused on Holocaust history, survivor testimony, and graphic art. The Auschwitz-Birkenau State Museum maintains a significant collection of his drawings and graphics, including nine pieces from 1960 depicting the nightmare of camp life, with an additional five drawings acquired in 2015. The museum featured these holdings in a dedicated temporary exhibition titled “For the price of survival I made a pact,” presented in Block 12 of the former Auschwitz I camp from October to November 2015, incorporating works from the permanent collection alongside loans from Spitzer's private holdings. The United States Holocaust Memorial Museum preserves a collection of postwar etchings by Spitzer that reflect his experiences as an inmate in Buchenwald and other camps. The Buchenwald Memorial permanently displays his 1995 bronze sculpture Muselmann, created as a symbol of unbroken Jewish pride and resilience among Holocaust survivors. The Victoria and Albert Museum in London holds seven works by Spitzer in its Prints, Drawings & Paintings Collection, encompassing paintings, drawings, watercolours, and other pieces primarily from the mid-20th century onward, accessible in the Prints & Drawings Study Room. These holdings reflect his versatility across media and his contributions to postwar artistic documentation of Holocaust themes.

Critical reception

Walter Spitzer's artistic output, deeply informed by his Holocaust survival and postwar observations, has been generally well-regarded within the contexts of memorial institutions and Holocaust commemoration for its testimonial power and emotional resonance. His works are often described as conveying pointed critiques of society and the enduring impact of trauma, with institutional presentations emphasizing their significance as historical witness. His 1995 bronze sculpture "Muselmann," installed at the Buchenwald Memorial, received particular praise from the commissioning jury, which described it as “an especially powerful depiction of a figure of a deported Jew, who, in the presence of death, maintains his upright stance.” This evaluation underscores the sculpture's role in symbolizing unbroken pride and dignity among survivors. Early in his career, Spitzer produced paintings noted for expressing a critical view of contemporary society, while his 1955 series of nine etchings commemorating the camps and death marches—later donated to museums in Israel and France—reflected recognition of his ability to address difficult historical subjects through graphic art. The Auschwitz-Birkenau State Museum's 2015 exhibition of his works presented him as a recognized artist with important achievements, highlighting the substantial portion of his oeuvre dedicated to Holocaust memories and survival experiences. Posthumously and throughout his career, his art has been appreciated for its emotional depth, enabling it to connect with audiences on both personal and collective levels in the context of remembrance.

Awards and honors

Walter Spitzer received several high French civilian honors in recognition of his contributions as an artist and his experiences as a Holocaust survivor. He was appointed Chevalier de la Légion d'honneur, Officier de l'Ordre national du Mérite, and Chevalier des Arts et des Lettres. These distinctions reflect official recognition by the French state of his body of work in painting, sculpture, and lithography, which often addressed themes of human suffering and resilience.

Memorials and tributes

Walter Spitzer died on 13 April 2021 in Paris at the age of 93 due to complications from COVID-19. He was buried two days later in the carré des rescapés de la Shoah (Shoah survivors' section) at the Bagneux cemetery. Tributes to Spitzer following his death included public expressions of respect for his contributions as a survivor and artist. Yannick Hoppe conveyed profound sadness at the news of his passing, describing him as a rescapé de la Shoah, peintre, illustrateur et sculpteur who, having been "sauvé par le dessin," devoted his life to recounting the horrors of the camps through his extensive body of work. No major institutional memorials, dedicated events, or posthumous honors beyond his burial location have been documented in available sources.

Note on film/TV association

Walter Spitzer was primarily a painter, sculptor, and illustrator, with no professional credits or involvement in film or television production as an actor, director, writer, or other creative role in narrative works. As a Holocaust survivor who created drawings in concentration camps, his life and art have been documented in several non-fiction films and television programs through interviews and appearances as himself. He was interviewed in the 2014 documentary Because I Was a Painter (directed by Christophe Cognet), which explores clandestine artworks produced by prisoners in Nazi camps. He also appeared as himself in the Omnibus television episode "From Bitter Earth - Artists of the Holocaust." These limited documentary features highlight his artistic legacy and testimony rather than indicating any broader engagement with the film or television industries.

References

  1. https://collections.ushmm.org/search/catalog/irn4387
  2. https://nahumgallery.com/collections/walter-spitzer
  3. https://www.buchenwald.de/en/geschichte/themen/ausgewaehlte-kunstwerke/walter-spitzer
  4. https://www.infocenters.co.il/gfh/notebook_ext.asp?book=38352&lang=eng&site=gfh
  5. https://www.buchenwald.de/en/geschichte/biografien/ltg-ausstellung/walter-spitzer
  6. https://www.rogallery.com/artists/walter-spitzer/
  7. https://collections.ushmm.org/search/catalog/irn35342
  8. https://asso-buchenwald-dora.com/walter-spitzer-klb-124-465/
  9. https://www.memorialdelashoah.org/hommage-a-walter-spitzer-rescape-de-la-shoah-est-decede-le-13-avril-2021.html
  10. https://collections.ushmm.org/search/catalog/irn4385
  11. http://adventuresintheprinttrade.blogspot.com/2009/09/burnt-stick-and-empty-cement-bag.html
  12. https://www.abebooks.fr/LEspoir-Lithographies-originales-Walter-Spitzer-Malraux/31930434830/bd
  13. https://www.abebooks.com/conqu%C3%A9rants-Malraux-Andr%C3%A9-1901-1976-Imprimerie-Nationale/9805127185/bd
  14. https://www.ader-paris.fr/lot/86631/7966112-spitzer-walter-malraux-andre-u?
  15. https://battin-encheres.fr/en/lot/86416/8123833-walter-spitzer-jean-paul-sartre-oeuvres-romanesques-suite-de
  16. https://www.ebay.fr/b/Walter-spitzer/bn_7006325918
  17. https://www.1stdibs.com/creators/walter-spitzer-1927-polish/art/
  18. https://www.artsy.net/artwork/walter-spitzer-untitled
  19. https://www.invaluable.com/artist/spitzer-walter-jegvgbhwv7/sold-at-auction-prices/
  20. https://www.lemonde.fr/disparitions/article/2021/04/15/l-artiste-walter-spitzer-rescape-de-la-shoah-est-mort_6076916_3382.html
  21. https://cja.huji.ac.il/hmm/browser.php?mode=alone&id=349187
  22. https://carnetdujour.lefigaro.fr/deces/annonces/337241679/
  23. https://fr.timesofisrael.com/deces-de-walter-spitzer-artiste-peintre-francais-et-survivant-de-la-shoah/
  24. http://sacredartpilgrim.com/collection/view/64
  25. https://collections.ushmm.org/search/catalog/irn4386
  26. https://collections.vam.ac.uk/search/?q=spitzer%2C+walter
  27. https://www.collecteurs.com/artists/walter-spitzer
  28. https://biographie.whoswho.fr/decede/biographie-walter-spitzer_11627
  29. https://www.hollywoodreporter.com/movies/movie-reviews/because-i-was-a-painter-688031/
  30. https://www.nytimes.com/2015/04/24/movies/review-because-i-was-a-painter-a-documentary-about-art-made-in-nazi-camps.html
  31. https://www.imdb.com/title/tt0664968/
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