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Orlando Norie is considered to have been one of the foremost illustrators of the British army in the 19th century, with thousands of watercolors to his credit in public and private collections. His pictures are highly sought after and command high prices. Yet his life remained a mystery that is only now being uncovered. Many of these wonderful pictures are revealed here for the first time. The Anne S.K. Brown Military Collection in Brown University Library, Providence, Rhode Island, USA, possesses one of the largest, if not the largest public collection of original military watercolors by Orlando Norie. The pictures in the Brown military collection range from single figure uniform studies or composites, to genre and battle scenes and at least one named portrait. These are published as a group for the first time along with Michel Tomaseks masterful account of Nories life, including comments on the artists British pictures by Peter Harrington.
Why does a Parisian banker re-enact the medieval wars of Wallace and Bruce in his spare time? Why do more than 20,000 people attend the Schotse Weekend bagpipe competition in Bilzen, Flanders? Why does an entire village in the Italian Alps celebrate a lost Scottish regiment? And why is there a Highland Games circuit of at least 30 kilted strength competitions in Austria, with dedicated athletes tossing hay-balls and pulling tractors? This is the first study of the self-professed ‘Scots’ of Europe. It follows the many thousands of Europeans who are determined to discover their inner Scotsman, and argues that by imitating the Scots of popular imagination, the self-styled European Highlanders hope to reconnect with their own ancestors – their lost songs, traditions and tribes. They approach Scotland as a site of European memory. This book explores issues of performance and celebration, memory and nostalgia, heritage and identity, and will be of interest to specialists on Scottish emigration and diaspora, Scottish history and myth, and to the ‘Scots’ of Europe themselves.
In his Rules for Wife Behavior, Colonel Joseph Whistler summed up his expectations for his new bride: “You will remember you are not in command of anything except the cook.” Although their roles were circumscribed, the wives of army officers stationed in British India and the U.S. West commanded considerable influence, as Verity McInnis reveals in this comparative study of two female populations in two global locations. Women of Empire adds a previously unexplored dimension to our understanding of the connections between gender and imperialism in the nineteenth century. McInnis examines the intersections of class, race, and gender to reveal social spaces where female identity and power were both contested and constructed. Officers’ wives often possessed the authority to direct and maintain the social, cultural, and political ambitions of empire. By transferring and adapting white middle-class cultural values and customs to military installations, they created a new social reality—one that restructured traditional boundaries. In both the British and American territorial holdings, McInnis shows, military wives held pivotal roles, creating and controlling the processes that upheld national aims. In so doing, these women feminized formal and informal military practices in ways that strengthened their own status and identities. Despite the differences between rigid British social practices and their less formal American counterparts, military women in India and the U.S. West followed similar trajectories as they designed and maintained their imperial identity. Redefining the officer’s wife as a power holder and an active contributor to national prestige, Women of Empire opens a new, nuanced perspective on the colonial experience—and on the complex nexus of gender, race, and imperial practice.
From 1837 to 1901, in Asia, China, Canada, Africa, and elsewhere, military expedition were constantly being undertaken to protect resident Britons or British interests, to extend a frontier, to repel an attack, avenge an insult, or suppress a mutiny or rebellion. Continuous warfare became an accepted way of life in the Victorian era, and in the process the size of the British Empire quadrupled.But engrossing as these small wars are--and they bristle with bizarre, tragic, and often humorous incident--it is the officers and men who fought them that dominate this book. With their courage, foolhardiness, and eccentricities, they are an unforgettable lot.
Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of painting played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet provide resulted in a robust market for drawn or painted battle scenes. Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding panoramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public’s understanding of the war. Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contributors raise a host of topics in connection with the volume’s overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
The Color of Time spans more than one hundred years of world history—from the reign of Queen Victoria and the American Civil War to the Cuban Missile Crisis and the beginning of the Space Age. It charts the rise and fall of empires, the achievements of science, industrial developments, the arts, the tragedies of war, the politics of peace, and the lives of men and women who made history.This illustrated narrative is a collaboration between a gifted Brazilian artist and a New York Times bestselling British historian. Marina Amaral has created two hundred stunning images, using rare photographs as the basis for her full-color digital renditions. Dan Jones has written a narrative that anchors each image in its context and weaves them into a vivid account of the world that we live in today.A fusion of amazing pictures and well-chosen words, The Color of Time offers a unique—and often beautiful—perspective on the past.
When Queen Victoria acceded to the British throne in 1837, British troops had recently concluded a war in southern Africa against the Xhosa people, and the seeds were already sown for a clash with the Boers. When she died in January 1901 Britain was fighting the Boers in one of the longest and costliest of the imperial colonial wars. This book details the history of Britain's numerous conflicts with the people of southern Africa, namely the Xhosa, Basotho, Tswana and Boers. Numerous illustrations, including rare photographs and colour plates, detail the dress, weaponry and organization of Victoria's enemies in the late 19th century.
When Queen Victoria acceded to the British throne in 1837, British troops had recently concluded a war in southern Africa against the Xhosa people, and the seeds were already sown for a clash with the Boers. When she died in January 1901 Britain was fighting the Boers in one of the longest and costliest of the imperial colonial wars. This book details the history of Britain's numerous conflicts with the people of southern Africa, namely the Xhosa, Basotho, Tswana and Boers. Numerous illustrations, including rare photographs and colour plates, detail the dress, weaponry and organization of Victoria's enemies in the late 19th century.