In 1957, for instance, Breker was commissioned to make a sculpture installed outside the Wilhelm-Dörpfeld-Gymnasium, a school in Wuppertal. The result was a larger than life bronze of Pallas Athene, the Greek goddess of war and wisdom, helmeted and poised to throw a spear. “The iconography is just the same as that of the Nazi era,” says the exhibition’s curator, Wolfgang Brauneis. Indeed, Brauneis points out that when there were objections in the press or among art critics to publicly commissioned art in West Germany, their complaints rarely had anything to do with the artists’ Nazi credentials. Rather, what united critics, press and public alike was hostility to modern art in the public sphere.

Hitler’s Horses: the true tale of Dutch ‘art detective

According to the German culture ministry, a pair of enormous bronze horses which were crafted specifically for Adolf Hitler and which were previously part of a private collection are going to become government property. The horses, which were made by the Austrian-German sculptor Josef Thorak, were intended to stand at the entrance to the New Reich Chancellery; the dictator commissioned the building to be a physical representation of Nazi totalitarian rule. According to The Art Newspaper, the horses were acquired by a private collector after being left behind at a Soviet military base. How odd that a park that only after the war reverted to the Jewish name the Nazis had erased could today display a sculpture by one of Hitler’s favourite artists. In 1939, Kolbe created a portrait bust of the Spanish dictator Francisco Franco, which was given to Hitler as a birthday present. Kolbe, to be fair, was one of the few Third Reich artists to have work shown in both Munich’s Degenerate Art show and the Nazi-sanctioned Große Deutsche Kunstausstellung across town. Max Werner (2006 reprint of 1940 edition). The Military Strength of the Powers. Read Books. ISBN 1-4067-9823-1, ISBN 978-1-4067-9823-4. a b c d e All numbers are nominal headcount, rarely reached even during formation in deep rear areas.After the war, Breker’s status as image maker for the Nazis, one might have thought, would have made him persona non grata in the new German republic. On the contrary, he benefited from an old boys’ network of Nazis: his Pallas Athene in Wuppertal was made possible by the intercession of fellow “divinely gifted” architect Friedrich Hetzelt. Darunas Liekis (2010). 1939 The Year That Changed Everything in Lithuania's History. Rodopi. ISBN 90-420-2762-2, ISBN 978-90-420-2762-6. Philip S. Jowett, illustrated by Stephen Andrew (2001). The Italian Army 1940–45: Africa 1940–43 Men At Arms 349. Osprey. ISBN 1-85532-865-8, ISBN 978-1-85532-865-5 Sutton, David (15 February 2022). Syria and Lebanon. Campaign of 1941. Bloomsbury USA. p.59. ISBN 9781472843845. Under the terms of the agreement the collector, Rainer Wolf of Bad Dürkheim near Mannheim, will retain other Nazi sculptures that were seized by police on his properties in 2015. These include two larger-than-life portrayals of muscular men by Arno Breker and two female nudes by Fritz Klimsch.

Hitler’s Bronze Horses Will No Longer Belong to a Private Hitler’s Bronze Horses Will No Longer Belong to a Private

The "Striding Horses" were only rediscovered in 2015 after a spectacular raidon an underground art trading ring operating in Germany. Police secured the horsestatues, as well as sculptures by Fritz Klimsch and Arno Breker, two more of Hitler's favorite artists. From 1937 onward, Thorak became one of the preferred sculptors of the Nazis, commissioned to create countless propaganda sculptures emphasizing the supposed strength and glory of theregime. After the war, Kaspar received numerous state commissions, including the national coat of arms tapestry in the Senate Hall of the Bavarian state parliament. Most strikingly, though, Kaspar finished work he had started under the Third Reich. He began his monumental wall mosaic for the Congress Hall of Munich’s German Museum in 1935, finally completing it in 1955. Dissenting voices finally emerged. But what’s especially striking is how much of the postwar work of these Nazi artists survives, barely noticed, in public spaces in Germany. Raphael Gross, the Deutsches Historisches Museum’s president, recalls that when he lived in Frankfurt he would pass by a sculpture every day on his way to work at the city’s Rothschild Park. “Until recently, I didn’t know it had been commissioned during the Third Reich and installed after the war.” Janusz Piekalkiewicz (1979). The cavalry of World War II. Orbis Publishing. ISBN 0-85613-022-2, ISBN 978-0-85613-022-9.Motorization in the interwar period [ edit ] At the end of World War I the former belligerents retained masses of traditional cavalry (1923 French unit pictured) and were facing motorization to overcome the prospects of another strategic stalemate. Commissioned by Hitler at the height of his power, the colossal twin "Striding Horses" had stood in the garden of Hitler's seat of government from 1939 to 1943.They were part of the thousands of bronze works crafted for the Nazi regime in its quest to transform Berlin into the imperial global capital of "Germania." Who was Josef Thorak? The horse sculptures being removed from a storehouse in Bad Duerkheim, Germany, 21 May 2015. Fredrik von Erichsen/picture alliance via Getty Images David Glantz (2003). The Soviet strategic offensive in Manchuria, 1945: August storm. Routledge. ISBN 0-7146-5279-2, ISBN 978-0-7146-5279-5 The only significant engagement of American horsemen in World War II was the defensive action of the Philippine Scouts ( 26th Cavalry Regiment). [117] The Scouts challenged the Japanese invaders of Luzon, holding off two armoured and two infantry regiments during the invasion of the Philippines. They repelled a unit of tanks in Binalonan and successfully held ground for the Allied armies' retreat to Bataan. [118] What would become the very last combat horse cavalry charge in U.S. Army history occurred at Morong on the west side of Bataan, on January 16, 1942, when mostly Filipino troopers of 'G' Troop, 26th Cavalry (PS), led by Southern Illinois native 1st Lt. Edwin Ramsey, successfully charged their mounts at a far superior Japanese force of armor-supported infantry, surprising and scattering them. This lightly-armed, 27-man force of U.S. Horse Cavalry, under heavy fire, held off the Japanese for several crucial hours. Ramsey earned a Silver Star and Purple Heart for this action, and the 26th was immortalized in U.S. Cavalry history.