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This book looks at the many transatlantic bonds which have linked and still link Germany and the United States. German immigrants to the Americas brought with them a good deal of cultural baggage. They cultivated their German heritage in their schools, churches, and clubs. They expressed pride in this heritage by erecting monuments to Goethe or Schiller, Beethoven or Wagner, Alexander von Humboldt or «Turnvater» Jahn. They claimed Friedrich Wilhelm von Steuben, Carl Schurz, Gustave Koerner, and John A. Roebling as their own. But German-born or German-trained sculptors did not limit themselves to German subjects. They also paid tribute to America by creating sculptures of Benjamin Franklin, George Washington, Thomas Jefferson, Abraham Lincoln, and others who occupy a place of honor in American history. While a few German monuments can be found in Canada and in Latin America, the number of German monuments in the United States is surprisingly large. These monuments illustrate the contribution - often overlooked or ignored - of the German-American community to American society and American cultural life.
This new volume tells the story of some of the paintings rescued by the the Monuments, Fine Arts and Archives (MFAA) organization, the so-called "Monuments Men." In December 1945, 202 paintings, found in German salt mines 2,100 feet underground, where they had been hidden to escape the allied bombing of Berlin, were brought to the United States "for safe keeping" by the Department of the Army. They were exhibited in 1948 at the National Gallery of Art, Washington DC, before some of them were sent on a whistle-stop tour of 13 US cities, despite furious opposition from museum directors, Gallery staff, the public, government officials, and a resolution from 98 leading art authorities demanding the immediate return of the works to Germany. All the paintings, examples of Flemish, Dutch, German, French, English, and Italian Schools, were from museums in Berlin, and had been found in April 1945, along with 100 tons of Reichsbank gold, by the special team of art historians and experts, seconded in the US army, and charged with locating and restituting works of art looted by the Nazis. This book is the first to consider the paintings themselves; it features 22 artworks that were in the original NGA exhibition, including four paintings on loan from Berlin, augmented by others from Cincinnati Art Museum, National Gallery of Art, Washington, The Getty Museum, Miami University (Oxford, OH), and the Taft Museum.
For the past 140 years, Germany has been the central power in continental europe. Twenty-five years ago a new German state came into being. How much do we really understand this new Germany, and how do its people understand themselves? Neil MacGregor argues that, uniquely for any European country, no coherent, overarching narrative of Germany's history can be constructed, for in Germany both geography and history have always been unstable. Its frontiers have constantly shifted. Königsberg, home to the greatest German philosopher, Immanuel Kant, is now Kaliningrad, Russia; Strasbourg, in whose cathedral Wolfgang von Geothe, Germany's greatest writer, discovered the distinctiveness of his country's art and history, now lies within the borders of France. For most of the five hundred years covered by this book Germany has been composed of many separate political units, each with a distinct history. And any comfortable national story Germans might have told themselves before 1914 was destroyed by the events of the following thirty years. German history may be inherently fragmented, but it contains a large number of widely shared memories, awarenesses, and experiences; examining some of these is the purpose of this book. MacGregor chooses objects and ideas, people and places that still resonate in the new Germany—porcelain from Dresden and rubble from its ruins, Bauhaus design and the German sausage, the crown of Charlemagne and the gates of Buchenwald—to show us something of its collective imagination. There has never been a book about Germany quite like it.
As an increasingly polarized America fights over the legacy of racism, Susan Neiman, author of the contemporary philosophical classic Evil in Modern Thought, asks what we can learn from the Germans about confronting the evils of the past In the wake of white nationalist attacks, the ongoing debate over reparations, and the controversy surrounding Confederate monuments and the contested memories they evoke, Susan Neiman’s Learning from the Germans delivers an urgently needed perspective on how a country can come to terms with its historical wrongdoings. Neiman is a white woman who came of age in the civil rights–era South and a Jewish woman who has spent much of her adult life in Berlin. Working from this unique perspective, she combines philosophical reflection, personal stories, and interviews with both Americans and Germans who are grappling with the evils of their own national histories. Through discussions with Germans, including Jan Philipp Reemtsma, who created the breakthrough Crimes of the Wehrmacht exhibit, and Friedrich Schorlemmer, the East German dissident preacher, Neiman tells the story of the long and difficult path Germans faced in their effort to atone for the crimes of the Holocaust. In the United States, she interviews James Meredith about his battle for equality in Mississippi and Bryan Stevenson about his monument to the victims of lynching, as well as lesser-known social justice activists in the South, to provide a compelling picture of the work contemporary Americans are doing to confront our violent history. In clear and gripping prose, Neiman urges us to consider the nuanced forms that evil can assume, so that we can recognize and avoid them in the future.
"This ... assessment of Civil War monuments unveiled in the United States between the 1860s and 1930s argues that they were pivotal to a national embrace of military values. Americans' wariness of standing armies limited construction of war memorials in the early republic, ... and continued to influence commemoration after the Civil War. ... distrust of standing armies gave way to broader enthusiasm for soldiers in the Gilded Age. Some important projects challenged the trend, but many Civil War monuments proposed new norms of discipline and vigor that lifted veterans to a favored political status and modeled racial and class hierarchies. A half century of Civil War commemoration reshaped remembrance of the American Revolution and guided American responses to World War I"--
This first-ever encyclopedia of the Midwest seeks to embrace this large and diverse area, to give it voice, and help define its distinctive character. Organized by topic, it encourages readers to reflect upon the region as a whole. Each section moves from the general to the specific, covering broad themes in longer introductory essays, filling in the details in the shorter entries that follow. There are portraits of each of the region's twelve states, followed by entries on society and culture, community and social life, economy and technology, and public life. The book offers a wealth of information about the region's surprising ethnic diversity -- a vast array of foods, languages, styles, religions, and customs -- plus well-informed essays on the region's history, culture and values, and conflicts. A site of ideas and innovations, reforms and revivals, and social and physical extremes, the Midwest emerges as a place of great complexity, signal importance, and continual fascination.