Mr. Wachsmann, an industrialist in Königshütte, Upper Silesia, tried to talk his gifted son, Franz, out of embarking on an unprofitable career as a musician. He imagined a more solid career for the youngest of his seven children. But Franz would not be dissuaded. While briefly working as a bank teller, he used his salary to pay for his real interests: piano; music theory; and composition lessons. After two years in this disagreeable position, he went to Dresden, later to Berlin to study music. Recognizing the young man’s talent, the composer Friedrich Hollaender asked him to orchestrate his score for the legendary 1930 movie, “The Blue Angel” with Marlene Dietrich. When in 1934, Franz was beaten up by Nazi hoodlums, he needed no further persuasion to leave the country and boarded a train to Paris the same evening. In 1935, he moved on to the United States, where, under the name “Waxman,” he quickly became a sought-after composer of film music. On November 3, 1938, Richard Wallace’s movie “The Young in Heart” was launched, with a soundtrack by Franz Waxman.
Gisela Kleinermann (top row, right) had recently turned 10 years old. With her arm around her classmate, she looks, with a slight smile, into the camera. At this time, Gisela may already have known that she will not be part of this class of the Jewish school in Dresden any longer. In late summer 1938, her mother Erna prepared her family’s emigration to the United States. Step by step, in recent years the Nazis forced segregation in public schools. In many Jewish communities—as well as in Dresden—new Jewish schools were founded as a result.
The Gestapo warrant for protective custody dated June 29, 1939 confirmed the hitherto merely formal arrest of the Jewish and communist painter Lea Grundig (also see June 1). After her conviction of high treason, she was held at the Dresden Court Jail.
Her paintings were political accusations and constituted a threat to the Nazi regime. Lea Grundig, born in 1903 as Lina Langer, was arrested with her husband, Hans, by the Dresden Gestapo on June 1, 1938, and not for the first time. The explanation given on the form was “Suspicion of subversive activity.” What was meant was her art. With picture cycles like “Under the Swastika” or “It’s the Jew’s Fault,” Grundig, who since 1933 had been barred from her profession, hauntingly documented the brutality of the persecution of Jews and communists by the Nazis. In 1935, she gave one of her paintings the portentous title, “The Gestapo in the house.”
Sometimes the dark events were even reflected in the tone of birthday greetings. Fritz Schürmann, a Jewish teenager from Hildesheim, and Gerhard Loeffler, a Protestant from Dresden, had been good friends for years. On the occasion of Fritz’s 18th birthday, Gerhard wished him safety, solace, and strength. Untypically for people of so young an age, the friend tries to convince Fritz of the necessity of hard experiences in the life of every human being.