Heinz-Hermann Köhler grew up in a country village in Lower Saxony. In 1936 after completing elementary school, he moved in with relatives in nearby Hildesheim, a mid-sized provincial town, so he could attend the Agricultural School. In contrast to the relatively homogenous and intimate village of his childhood, Hildesheim's economic and social composition was diverse. People of many different classes, occupations, and religious faiths lived and worked in close proximity. Heinz-Hermann fills most of his watercolors and pencil drawings with the rich texture of town life: the games children played, the work adults did, and the movement of vehicles. He also depicted holiday celebrations which, in light of the recent Great Depression, display a relative wealth of decoration and toys that must have impressed him.

Heinz-Hermann was also impressed and influenced by the politics of the Third Reich. In the run up to a plebiscite, he captured the plethora of flags and calls for a "yes" vote on the street. In "Help Them!," Heinz-Hermann imaginatively enters into the domestic space of a typical German farm family, annotating that they have "no work/nothing to eat/the stable is empty." If he is personally familiar with their plight, he nonetheless views the farm from the outside, in a style otherwise associated with romantic images of the countryside but that is here framed by a political slogan: "Give to W[inter] H[elp]." Young Germans were often encouraged to raise money for this Nazi charity; here Heinz-Hermann reiterates a charged political appeal for charity and solidarity with farmers who are implicitly fellow "Aryans."

These images are rather different from classic propaganda images of Nazi parades, rallies, or broadsides, but they are not innocent of Nazi politics. What do they tell us about how Nazi politics operate in everyday life? The artist captured the dynamism of capitalism, urbanity, and modernity for instance in the broadsides he discovered on an pillar which advertised cigarettes next to calls to support 'freedom' with a 'yes' vote. What do they tell us about how children experienced the Third Reich?

Heinz-Hermann never returned to the farm. He was conscripted into the German Army during World War II to help conquer "living space" for the Aryan race. He was killed in battle.

The image by 13th–century illustrator al-Wasiti (fl. 1237) is from the Maqamat (Assemblies), a collection of stories of a picaresque hero. In the upper half of the illustration, a boy in a short tunic and cap with tiraz embroidered bands, leads animals yoked to the saqiyya, a geared water-raising device that irrigated fields and gardens. The boy grasps the tail of the animal and carries a switch as the animals pace around the circle, turning the wheel to raise the water. The water flows into the lower part of the illustration, where guests sit in a garden around a basin and decorative fountain, listening to poetry and music accompanied by a lute. Baghdad had many garden suburbs along the canals, so this scene reflects urban as well as rural social life. The social class of the boy is likely beneath that of the group attending the social gathering. He might be the son of the family who cultivated the land, or a servant. The author, al-Hariri (1054-1122 CE), is an important figure in Arabic literature. The illustrations belong to the Baghdad School of miniature illustration, and were popular even in al-Wasiti's time, depicting dynamic scenes of life within the small space of the page.