University of Minnesota
Center for Holocaust & Genocide Studies


Fritz Hirschberger: Other Paintings

The images shown below represent uncatalogued paintings (oil) by Fritz Hirschberger that deal with issues of a political and social nature that impelled him to paint about it. The Holocaust, with all of its unanswered questions, was the starting point for the artist, who died in 2004. Themes which he pursued were: The Holocaust, alienation, the seven deadly sins, abuse of women, commercialism, misuse of the Holocaust in American Jewish life and various threats to the world and its environment because of human institutions. In these paintings, Hirschberger continued to use high color that characterized his earlier work. Hirschberger was well read in mythology, German and European history and knew several languages, aside from his native German. With both training in art and engineering, and surviving World War II in the Polish Anders Army as a solider (decorated by the Polish government in1992), Hirschberger had a unique artistic view that combined artistic concepts, elements of classicism in his own artistic forms, and engineering skills, which allowed him to often join figures with strange contraptions.


  1. Walter von der Vogelscheisse (probably a pun about Walther von der Vogelweide, b 1170, Medieval Troubador known for his anti-Papal poems
  2. The Good Old Boys (perhaps a reference to the book: The Good Old Days: the Holocaust as Seen by Its Perpetrators and Bystanders by Ernst Klee, Willi Dressen, and Volker Reiss
  3. Pecunia non olet. Pecunia non olet (Latin for "money does not smell") is a Latin saying. The Roman Emperor Vespasian reintroduced a urine tax on public toilets within Rome's now famous Cloaca Maxima (great sewer) system. When his son Titus criticized him, he supposedly pointed out that a coin did not smell ('Pecunia non olet'), even though it came from urine (e lotio est). (Suetonius, Vesp. 23)