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Author: Michelin and Cie
Publisher: Michelin & Cie, Clermont-Ferrand
ISBN:
Category :
Languages : en
Pages : 89
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Book Description
As in the two preceding volumes of “Americans in the Great War,” no attempt is made in this third volume to describe the military engagements in great detail. It was thought better to illustrate the ruin and devastation caused by the great struggle, rather than to dwell too long on the actual hostilities. This object has been attained by securing a great number of carefully selected and exclusive photographs and maps, all of which are published in this volume, together with necessary descriptive text. Like its predecessors this volume is not a military treatise but a guide book. Nevertheless, it is the duty of the author as well as a great pleasure to hesitate long enough at this moment to say a word in appreciation of the invaluable service rendered to France and to civilization by the valiant American soldiers. It was during the period covered in the pages following that the American Army reached its maximum fighting strength, and achieved its greatest military triumphs. The splendid fighting spirit of the troops was remarked by all, and their fine comradeship, both on the firing line and at rest, won the widest possible admiration. Furthermore, the seasoned military experts who had been engaged in the war for four long years were amazed to discover with what remarkable rapidity the American soldiers and their high spirited officers had adapted themselves to the art of war. In the words of Marshal Foch: “As for the American troops you may tell your people that they are admirable. They can be reproached only with going ahead too fast!” The Meuse-Argonne campaign ended with the signing of the Armistice on November 11, 1918. Marshal Joffre in a speech of thanksgiving said: “I am proud to have been the sponsor of the noble American Army, which has been the determining cause of our present victory.
Author: Michelin and Cie
Publisher: Michelin & Cie, Clermont-Ferrand
ISBN:
Category :
Languages : en
Pages : 89
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Book Description
As in the two preceding volumes of “Americans in the Great War,” no attempt is made in this third volume to describe the military engagements in great detail. It was thought better to illustrate the ruin and devastation caused by the great struggle, rather than to dwell too long on the actual hostilities. This object has been attained by securing a great number of carefully selected and exclusive photographs and maps, all of which are published in this volume, together with necessary descriptive text. Like its predecessors this volume is not a military treatise but a guide book. Nevertheless, it is the duty of the author as well as a great pleasure to hesitate long enough at this moment to say a word in appreciation of the invaluable service rendered to France and to civilization by the valiant American soldiers. It was during the period covered in the pages following that the American Army reached its maximum fighting strength, and achieved its greatest military triumphs. The splendid fighting spirit of the troops was remarked by all, and their fine comradeship, both on the firing line and at rest, won the widest possible admiration. Furthermore, the seasoned military experts who had been engaged in the war for four long years were amazed to discover with what remarkable rapidity the American soldiers and their high spirited officers had adapted themselves to the art of war. In the words of Marshal Foch: “As for the American troops you may tell your people that they are admirable. They can be reproached only with going ahead too fast!” The Meuse-Argonne campaign ended with the signing of the Armistice on November 11, 1918. Marshal Joffre in a speech of thanksgiving said: “I am proud to have been the sponsor of the noble American Army, which has been the determining cause of our present victory.
Author: Artemis Design
Publisher:
ISBN:
Category :
Languages : en
Pages : 150
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Book Description
'THE ART OF WAR: VOLUME 3' IS A COLLECTION OF 135 SOVIET WORLD WAR TWO PROPAGANDA POSTERS. INCLUDES A FOREWORD BY HISTORIAN M. J. TROW. Propaganda during the Second World War was an unavoidable aspect of daily life. It must be a situation that is hard to relate to for those of us in the West born too late or too young to remember the war or the decades afterwards. The idea that you must always be alert to the ominous drone of the air-raid sirens as you went about your business, or that your home could be destroyed in an aerial bombardment at any moment is very hard to comprehend. But those who lived through the war knew it was perfectly possible that the Wehrmacht could soon be marching through the streets, with all the chaos, fear, death and destruction that that would imply. Against this backdrop we can understand why propaganda was so vital to all sides of the conflict. For those interested in the psychology of the past, propaganda posters are a great glimpse into the (understandable) paranoia, hysteria and concerns of those who created them, and the message they thought it was necessary to promote to everyone else. All of these posters served some sort of purpose, and modern cynicism means it is often hard not to scoff at some of them, because to us they are now often unintentionally humorous or offensive. Those in government at the time knew that war had evolved. The Great War had changed much, and this latest conflict with Germany would create a huge strain, both in terms of morale and in the nation's resources, and it was vital to have and maintain full support for the war at home. While propaganda was nothing new, it came into its own during the Second World War. British posters were, in the main, created by the controversial Ministry of Information, a government department that was dissolved soon after the war and probably one of George Orwell's inspirations for 'Big Brother'. Many contemporary members of parliament were very disturbed by the agenda of this department and protested that there was a very real danger that Britain could ironically sleep-walk into becoming the fascist, brain-washed state with which they were at war. The messages behind most of these posters is overt and obvious. The well-known, but never actually distributed, 'Keep Calm and Carry On' posters are still recognisable to us today, over 70 years later. Other messages may verge on the bizarre to those who never knew the horrors of the conflict first-hand. One poster shows a soldier and his partner on a sofa with the message 'Keep mum (stay silent), she might not be so dumb', implying that his girlfriend may, at best, be a loudmouth who will report his military operations to everyone in town and, at worst, be a Gestapo agent who had been planted into his home. This isn't to mock the sentiment, but simply to point out how difficult it is for a modern mind to understand. Other posters urging mothers to evacuate their children away from towns as refugees to find safety in the countryside, or even abroad to the security of Canada or other parts of the empire are quite shocking. Still more so are those which implied that people taking a day off work due to sickness could be shirking, or that those who lost a tool at work were aiding Hitler, are quite unsettling even now. American propaganda was often racist, showing rat-like Japanese. One dramatic poster, featuring two creepy children in their gas masks and proclaiming 'Dear God, keep them safe!' is still striking. On the Axis side, they were oddly obsessed with reminding Allied soldiers, particularly Americans, that their women were back at home, probably sleeping with someone else and that 'the negroes' were now running the country.
Author:
Publisher: Greg Gatenby Books
ISBN: 1998469301
Category : Antiques & Collectibles
Languages : en
Pages : 1190
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Book Description
The Authorized Images Famous Authors Seen Through Antique and Vintage Postcards: Omnibus Edition is Comprised of 5 Volumes Volume 3 of Authorized Images features extensively illustrated profiles of Robert Burns, Friedrich Schiller, and Lord Byron along with 13 others. Authors profiled in Authorized Images Volume 3: Aeschylus (525–455 BC) Pietro Aretino (1492-1556) Luís de Camões (ca 1524-1580) Jean de La Fontaine (1621-1695) Daniel Defoe (ca 1660-1731) Pierre Beaumarchais (1732-1799) Robert Burns (1759-1796) Friedrich Schiller (1759-1805) George Gordon, Lord Byron (1788-1824) William Cullen Bryant (1794-1878) Honoré de Balzac (1799-1850) Ralph Waldo Emerson (1803-1864) Charles Dickens (1812-1870) Charles Baudelaire (1821-1867) Leo Tolstoy (1828-1910) Hall Caine (1853-1931)
Author: Ephraim Durnst
Publisher:
ISBN:
Category :
Languages : en
Pages : 212
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Book Description
A collection of full-color artwork from World War One that illustrates the immense destruction and human turmoil of The Great War. World War One raged from 1914 through 1918. Before the advent of modern video and photography, artists documented it using a variety of mediums for newspapers and magazines from the era. Using their imagination and technical skill, these talented illustrators and painters created something beautiful out of something terrible that gives a candid look at one humanity's greatest conflicts. The Art of World War 1 collects more than 100 brilliant pieces from the WW1-era depicting French, British, German, American troops, and more involved in the struggle. Stunning color illustrations from artists like Francois Flameng, Charles Hoffbauer, G. Koch, Georges Scott, Willy Stöwer, and more fill the pages with intimate scenes and epic shots of destruction. Included are prints featuring air combat, soldiers charging, tanks, boats, and the aftermath of battle. Using pens, pencils, paints, and brushes, they captured the action and emotion of The Great War in a way that film could not. In many cases, these brave individuals traveled to the front lines and sketched, drew, and painted what they saw. More than 100 years after its creation, their art is more vivid and impactful today than ever before.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 1250
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Book Description
Author: Artemis Design
Publisher:
ISBN: 9781702025898
Category :
Languages : en
Pages : 144
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Book Description
'THE ART OF WAR: VOLUME 1' IS A COLLECTION OF 130 BRITISH WORLD WAR TWO PROPAGANDA POSTERS. INCLUDES A FOREWORD BY HISTORIAN M. J. TROW. Propaganda during the Second World War was an unavoidable aspect of daily life. It must be a situation that is hard to relate to for those of us in the West born too late or too young to remember the war or the decades afterwards. The idea that you must always be alert to the ominous drone of the air-raid sirens as you went about your business, or that your home could be destroyed in an aerial bombardment at any moment is very hard to comprehend. But those who lived through the war knew it was perfectly possible that the Wehrmacht could soon be marching through the streets, with all the chaos, fear, death and destruction that that would imply. Against this backdrop we can understand why propaganda was so vital to all sides of the conflict. For those interested in the psychology of the past, propaganda posters are a great glimpse into the (understandable) paranoia, hysteria and concerns of those who created them, and the message they thought it was necessary to promote to everyone else. All of these posters served some sort of purpose, and modern cynicism means it is often hard not to scoff at some of them, because to us they are now often unintentionally humorous or offensive. Those in government at the time knew that war had evolved. The Great War had changed much, and this latest conflict with Germany would create a huge strain, both in terms of morale and in the nation's resources, and it was vital to have and maintain full support for the war at home. While propaganda was nothing new, it came into its own during the Second World War. British posters were, in the main, created by the controversial Ministry of Information, a government department that was dissolved soon after the war and probably one of George Orwell's inspirations for 'Big Brother'. Many contemporary members of parliament were very disturbed by the agenda of this department and protested that there was a very real danger that Britain could ironically sleep-walk into becoming the fascist, brain-washed state with which they were at war. The messages behind most of these posters is overt and obvious. The well-known, but never actually distributed, 'Keep Calm and Carry On' posters are still recognisable to us today, over 70 years later. Other messages may verge on the bizarre to those who never knew the horrors of the conflict first-hand. One poster shows a soldier and his partner on a sofa with the message 'Keep mum (stay silent), she might not be so dumb', implying that his girlfriend may, at best, be a loudmouth who will report his military operations to everyone in town and, at worst, be a Gestapo agent who had been planted into his home. This isn't to mock the sentiment, but simply to point out how difficult it is for a modern mind to understand. Other posters urging mothers to evacuate their children away from towns as refugees to find safety in the countryside, or even abroad to the security of Canada or other parts of the empire are quite shocking. Still more so are those which implied that people taking a day off work due to sickness could be shirking, or that those who lost a tool at work were aiding Hitler, are quite unsettling even now. American propaganda was often racist, showing rat-like Japanese. One dramatic poster, featuring two creepy children in their gas masks and proclaiming 'Dear God, keep them safe!' is still striking. On the Axis side, they were oddly obsessed with reminding Allied soldiers, particularly Americans, that their women were back at home, probably sleeping with someone else and that 'the negroes' were now running the country.
Author: Louis Raemaekers
Publisher: Abela Publishing Ltd
ISBN: 8826455430
Category : Art
Languages : en
Pages : 246
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Book Description
Throughout history cartoons can have had a powerful psychological, emotional, and political impact. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” During World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," his cartoons led the German Government to offer a 12,000 guilder reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.
Author: Louis Raemaekers
Publisher: Abela Publishing Ltd
ISBN: 8826462151
Category : History
Languages : en
Pages : 240
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Book Description
Herein are 107 more satirical cartoons from the master Louis Raemaeker which end off the second year of WWI. With so may atrocities committed by both sides, Raemakers was not short of material. One hundred years before WWI, Napoleon is reported to have said that the English caricaturist James Gillray "did more than all the armies in Europe to bring me down.” Likewise, during World War I, no cartoonist exercised more influence than Louis Raemaekers of Holland. Charged with "endangering Dutch neutrality," he fled to England. His satirical newspaper cartoons led the German Government to offer a 12,000 guilder (±US250,000 in 2014) reward for his capture, dead or alive. A German newspaper, summarizing the terms of peace Germany would exact after it won the war, declared that “Indemnity would be demanded for every one of Raemaekers' cartoons.” Raemaekers cartoons were also instrumental in fighting against deeply entrenched American isolationism. When, in 1917, the United States entered the war, Raemaekers embarked on a lecture tour of the USA and Canada, rallying the new allies for support and arguing the case for mobilisation against the German Empire. The Christian Science Monitor commented “From the outset his works revealed something more than the humorous or ironical power of the caricaturist; they showed that behind the mere pictorial comment on the war was a man who thought and wrought with deep and uncompromising conviction as to right and wrong.” All too often art critics, art historians, aestheticians, and others have dismissed cartoons and caricatures as silly — not serious — trivial, and irrelevant. Yet, as you will see with the cartoons in this first volume, here are cartoons and caricatures that, in retrospect, possibly had more effect on the German High Command and German populace than possibly a new Allied offensive, giving weight to the adage “The Pen is Mightier than the Sword.” - if only pen and paper could have been used to greater effect in this, the Great War.
Author: Brooke L. Blower
Publisher: Cambridge University Press
ISBN: 1108317847
Category : History
Languages : en
Pages : 866
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Book Description
The third volume of The Cambridge History of America and the World covers the volatile period between 1900 and 1945 when the United States emerged as a world power and American engagements abroad flourished in new and consequential ways. Showcasing the most innovative approaches to both traditional topics and emerging themes, leading scholars chart the complex ways in which Americans projected their growing influence across the globe; how others interpreted and constrained those efforts; how Americans disagreed with each other, often fiercely, about foreign relations; and how race, religion, gender, and other factors shaped their worldviews. During the early twentieth century, accelerating forces of global interdependence presented Americans, like others, with a set of urgent challenges from managing borders, humanitarian crises, economic depression, and modern warfare to confronting the radical, new political movements of communism, fascism, and anticolonial nationalism. This volume will set the standard for new understandings of this pivotal moment in the history of America and the world.
Author:
Publisher:
ISBN:
Category : Bibliography, National
Languages : en
Pages : 398
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Book Description
