Esther Krinitz (1927-2001) just wanted her children to know what her home had looked like before the war. It was 1977, and the Holocaust survivor, a 50-year-old dress designer and seamstress in Brooklyn, New York, owned no childhood photos but had a vivid memory and talent to spare: “She had never been trained as an artist,” recalls daughter Bernice Steinhardt. “But she could sew anything.”
Using a large piece of fabric as her canvas, Esther drew the pastoral village of Mniszek in northern Poland, where she, along with her parents, four siblings, grandparents, and cousins, had lived until genocide upended their lives. She filled inside the lines with embroidery and fabric scraps and was so pleased with the result that she made a second artwork, this one showing her swimming in Poland’s Vistula River in the 1930s with older brother Ruven.
Stitching these scenes, which she gifted to daughters Steinhardt and Helene McQuade, inspired Esther to document even more recollections from her past. She’d go on to create a total of 36 fabric-art segments throughout the next three decades, depicting not just her relatives and birthplace but her own narrow escape from the Nazis.
Sewn sporadically and in no particular order, the panels nonetheless tell a chronological story of Esther and her younger sister Mania, who evaded a Gestapo roundup in 1942 and spent the war’s remainder pretending to be Catholic farm girls. The two eventually immigrated to the U.S. Their family, tenderly immortalized throughout Esther’s series, wasn’t so fortunate: they likely perished at concentration camps.
Here and on the following pages are a sampling of Esther’s artworks, all on view in the exhibit “Esther and the Dream of One Loving Human Family” at Baltimore’s American Visionary Art Museum through March 3, 2024.
this article first appeared in world war II magazine