![]() Hartmut and Heinrich Johannes from Brambostel are only distant relatives, yet their neighbouring farmsteads have one thing in common: in former times, their respective families were expelled from their farms Brambostel 2 and Brambostel 3.ĭuring World War II, development, production and testing activities at Rheinmetall-Borsig were at full-speed, and this wasn’t everything. Then the police grabbed me and took me to the Gestapo.” What did the Gestapo do to Sascha A? Why didn’t he speak of his time there? Perhaps his experience was too painful to remember… I was admiring pictures by German painters. I was on the street next to the Art Academy. concerned a failed attempt to escape from the prison camp. In fact, forced labourers were not allowed to use the communal facilities of the Germans the plans of the Düsseldorf-Derendorf plant show separate communal areas for labourers from Eastern regions. into the dining room reserved for Germans shows that foreigners weren’t normally given access to this room but used a separate dining area. The fact that the foreman Johann let Sascha A. The portrait of the girl was drawn in the dining room for Germans.” ![]() I agreed to produce a portrait of the young girl. ![]() He showed me a photograph of a five year-old girl. Yet the hobby of the talented forced labourer did not go noticed. They gave me pencils and paper and they paid for my artwork with bread, cigarettes and tinned food.” It is not known where he drew the pictures, whether at the forced labour camp in Grashofstrasse or at the factory during breaks from work. I started to draw French labourers and they sent the portraits to their homes in France. One point is particularly touching in the light of the great suffering of forced labourers at Rheinmetall in Düsseldorf, Berlin and elsewhere: “I enjoyed drawing. ![]()
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