Post-holocaust artistic or literary production has undeniable documentary value. However, it does not contribute so much to clarify what happened but to express what we are feeling now. This production explains better the attitude we have decided to adopt to relate to that past. The main objective of this work is undoubtedly to warn of the danger of ending up considering something as merely aesthetic what must first and foremost be a document and a perennial monument to remembrance and memory. Likewise, we intend to make art historians aware that this task of warning corresponds to them since they have a stark link to the systems of knowledge about these pieces. So we have used an essentially formalist methodology that is common in art history. We have analyzed texts and testimonies as a corrective measure that gives meaning to the pieces. And then we have studied the image itself and its value as a signifier. We intended to build a professional commitment structure for art historians.

No abstract