A reexamination of the narrative of genocide. Personal stories help audiences consider the cause, course, and consequences of this seminal period in world history. In Holocaust, historian James Bulgin presents a wealth of archival material--including emotive objects, newly commissioned photography, and previously unpublished personal testimony from those who were there--to examine the role of ideology and individual decision-making in the course of World War II and the Holocaust. The book is published to coincide with the opening of Imperial War Museums's groundbreaking new Second World War and Holocaust Galleries.
During World War II, London was at its most perilous moment since the Great Fire of 1666. Districts were transformed at night by falling bombs, fires, and searchlights. During the day, when the results of the previous night's bombing were laid bare, ordinary people dealt with the aftermath as best they could. In 1939, the Ministry of Information set up the War Artists Advisory Committee (WAAC) to compile an artistic record of Britain during the war. After the war had ended, more than half of the paintings commissioned--some three thousand works--ended up in the Imperial War Museums collection. Wartime London in Paintings showcases seventy oil paintings from the IWM's unmatched collection in one stunning illustrated volume, portraying the ordinary and the extraordinary of London at the time. Featuring works by some of the most famous war artists of the conflict--including Graham Sutherland, Henry Moore, Edward Ardizzone, and more--this incredible visual exploration of a wartime city gives readers a firsthand look at how London coped during one of the most significant periods of its history.
In the hours before dawn on June 6, 1944, an unprecedented assemblage of men, weapons, and machines swung into action. The long-awaited, highly secret D-Day invasion had begun. By the end of the day, the mission to liberate Europe had made its most crucial advance. This book marks the seventy-fifth anniversary of D-Day through a richly illustrated account of the invasion and its aftermath. Drawing on the unparalleled collections of IWM, it reconstructs the historic landings and the subsequent battle for a foothold in Normandy through images of artifacts, documents, period photographs, and art. Interviews, firsthand accounts, and film stills put the reader right into the action, reminding us that even with all the careful planning and firepower the Allies were able to muster, the outcome of the invasion was far from certain. Re-creating the drama and danger of D-Day, this book will be the perfect commemoration of a day that truly changed the world.
The Victoria and George Crosses are the highest military and civil decorations of the United Kingdom, awarded for gallantry. The Victoria Cross, introduced in 1856, is awarded to members of the armed forces of various Commonwealth countries for valour in the face of the enemy, while the George Cross was introduced during World War II so that civilians could also be awarded for acts of heroism, or conspicuous courage in circumstances of extreme danger. There have been 1,356 Victoria Crosses awarded, and there have been 404 recipients of the George Cross since 1940. The Imperial War Museum is opening the Lord Ashcroft Gallery in November 2010 to showcase not only their large collection of Victoria and George crosses, but also Lord Ashcroft's collection, which he has loaned to the Museum for 10 years. The gallery will therefore contain the largest collection of VCs and GCs in the world. The museum envisages around 150,000 visitors a year. This fully illustrated book contains the stories of over 80 recipients: a mixture of individuals - including men, women and children from different countries - who performed their acts of heroism across the last century and a half.
This magnificent new volume gives you exclusive access to the Churchill War Rooms, bringing you closer than ever before to where Churchill not only ran the war - but won it.
In the early twentieth century, the new technology of flight changed warfare irrevocably, not only on the battlefield, but also on the home front. As prophesied before 1914, Britain in the First World War was effectively no longer an island, with its cities attacked by Zeppelin airships and Gotha bombers in one of the first strategic bombing campaigns. Drawing on prewar ideas about the fragility of modern industrial civilization, some writers now began to argue that the main strategic risk to Britain was not invasion or blockade, but the possibility of a sudden and intense aerial bombardment of London and other cities, which would cause tremendous destruction and massive casualties. The nation would be shattered in a matter of days or weeks, before it could fully mobilize for war. Defeat, decline, and perhaps even extinction, would follow. This theory of the knock-out blow from the air solidified into a consensus during the 1920s and by the 1930s had largely become an orthodoxy, accepted by pacifists and militarists alike. But the devastation feared in 1938 during the Munich Crisis, when gas masks were distributed and hundreds of thousands fled London, was far in excess of the damage wrought by the Luftwaffe during the Blitz in 1940 and 1941, as terrible as that was. The knock-out blow, then, was a myth. But it was a myth with consequences. For the first time, The Next War in the Air reconstructs the concept of the knock-out blow as it was articulated in the public sphere, the reasons why it came to be so widely accepted by both experts and non-experts, and the way it shaped the responses of the British public to some of the great issues facing them in the 1930s, from pacifism to fascism. Drawing on both archival documents and fictional and non-fictional publications from the period between 1908, when aviation was first perceived as a threat to British security, and 1941, when the Blitz ended, and it became clear that no knock-out blow was coming, The Next War in the Air provides a fascinating insight into the origins and evolution of this important cultural and intellectual phenomenon, Britain's fear of the bomber.
Barely a decade passed from the Wright Brothers’ first powered flight to aircraft becoming lethal instruments of war. The Royal Flying Corps and Royal Naval Air Service took off in the very early days of The Great War and captured the public’s imagination and admiration. Sydney and Richard Carline happened to be both pilots and artists as was Frenchman Henri Farre. Their works inspired celebrated painters like Sir John Lavery who took to the skies in an airship in the First World War. Feeding on the demand for works depicting this new dimension of warfighting, a new genre of art was born which has remained popular ever since. During the Second World War, the paintings of Paul Nash stood out as did Eric Ravilious who, ironically, died in an air crash. War artist Albert Richards dropped with British paratroopers on D-Day. Post-war, paintings by leading British and international artists graphically illustrate conflicts such as the Falklands, Bosnia and the Gulf War. John Fairley has brought together a dazzling collection of art works covering over 100 years of air warfare, enhanced by lively and informative text. The result is a book that is visually and historically satisfying.
The major art installation Blood Swept Lands and Seas of Red at the Tower of London marked one hundred years since the first full day of Britain's involvement in the First World War. Created by artists Paul Cummins and Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war. The poppies encircled the iconic landmark, creating a spectacular display visible from all around the Tower, which attracted more than 5 million visitors. The scale of the installation was intended to reflect the magnitude of such an important centenary and create a powerful visual commemoration. Featuring forewords by Paul Cummins and Tom Piper and stunning photography of the installation, The Poppies: Blood Red Lands and Seas of Red is the only official publication to mark this landmark event. As thousands of the poppies used in the installation tour the country during the remainder of the First World War Centenary, this publication will undoubtedly prove popular with visitors to both the Tower and the new venues alike.
