German and Polish mounted troops fought one of the last significant cavalry vs cavalry clashes, during the Battle of Krasnobród in 1939. Most British regular cavalry regiments were mechanised between 1928 and the outbreak of World War II. The United States retained a single horse cavalry regiment stationed in the Philippines, and the German Army retained a single brigade. The French Army of 1939–1940 blended horse regiments into their mobile divisions, and the Soviet Army of 1941 had thirteen cavalry divisions. The Italian, Japanese, Polish and Romanian armies employed substantial cavalry formations. Charles W. Sydnor (1997). Soldiers of destruction: the SS Death's Head Division, 1933–1945. Princeton University Press. ISBN 0-691-00853-1, ISBN 978-0-691-00853-0.

Hitler’s Horses by Arthur Brand book review | The TLS

Jeffrey T. Fowler,illustrated by Mike Chappell (2001). Axis Cavalry in World War II. Men At Arms 361 Osprey. ISBN 1-84176-323-3, ISBN 978-1-84176-323-1. On the Nazi’s Gottbegnadeten list … Richard Scheibe at work in Berlin, 1955. Photograph: Georg Kolbe Museum, Foto Fritz Eschen

Why display Nazi sculptures?

Gross and Brauneis think the issue is less clear cut in the German case. “We must go case by case,” says Gross. “There can’t be a general rule.” Brauneis argues that in some cases explanatory notes are enough. “Sometimes rather than destroying the past we have to learn about it and then live with it even if that is uncomfortable.” Brauneis agrees with this assessment: “In West Germany and Austria, if not East Germany, many of the most successful artists were Nazis.” The ghost sonata carried on as if the Holocaust had not happened. Brauneis’s exhibition is aimed at bringing a neglected chapter in German history to light. Janusz Piekalkiewicz (1979). The cavalry of World War II. Orbis Publishing. ISBN 0-85613-022-2, ISBN 978-0-85613-022-9. Zaloga, Steven (1982). The Polish Army 1939–45. Men At Arms No. 117. illustrated by Richard Hook. Osprey Publishing. ISBN 978-0-85045-417-8. Brauneis argues that the hidden history he unveils undermines that flattering image. “The truth is that these ‘divinely gifted’ artists had close ties with the cultural-political programme of the Federal Republic.”

Hitler’s Horses by Arthur Brand, review — the ‘Indiana Jones

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. Motorization of the 1930s raised a number of concerns, starting with the need to secure a continuous fuel supply. The new formations had a significantly larger footprint on the march: the 1932 French motorized division took up 52km (32mi) of road space compared to 11.5km (7.1mi) for a horse-mounted formation, raising concerns about control and vulnerability. [4] The Spanish Civil War and other conflicts of 1930s did not provide definite solutions and the issues remained unresolved until the onset of World War II. Only the German blitzkrieg achieved in the Battle of France finally persuaded the militaries of the world, including the United States, that the tank had replaced the horse on the battlefield. [16] Horse logistics [ edit ] German horse-drawn supply train with pneumatic tires in France, 1944 Now the sculptures will be shown again for the first time in the Spandau Citadel. One of the horses has been on display there for some time, and the second one is now being unveiled and examined by restorers.R. L. DiNardo, Austin Bay (1988). Horse-Drawn Transport in the German Army. Journal of Contemporary History, Vol. 23, No. 1, 129–143 (1988). doi: 10.1177/002200948802300108. Contemporary reports of the discovery mention the part played by a 76-year-old Berlin art dealer, Traude Sauer, who was the first to be told they were up for sale. Needless to say, Brand minimises Sauer’s contribution in favour of his own. It was, in truth, a joint effort by many different people, though Brand seems to have played the key role. “If this affair has taught me anything,” he writes, “it’s that truth is indeed stranger than fiction.” It is indeed, and he and his editor might have heeded that simple fact by producing an account that was less melodramatic, and far more convincing.

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

David Glantz (editor). The initial period of war on the Eastern Front, 22 June–August 1941: proceedings of the Fourth Art of War Symposium, Garmisch, October 1987. Taylor & Francis, 1997. ISBN 0-7146-4298-3, ISBN 978-0-7146-4298-7 German military regulation H.Dv. 465/1 – Fahrvorschrift (Fahrv.) Heft 1 Allgemeine Grundsätze der Fahrausbildung – 1941, ISBN 978-3734782022 From 1937 until 1944, Breker was among hundreds of German artists whose work was shown in the Große Deutsche Kunstausstellung in Munich, an exhibition designed to showcase what National Socialists thought of as the right kind of art. Much of it eulogised German sacrifice in the first world war or neo-classical heroic sculptures such as Breker’s Prometheus.Mark Axworthy, illustrated by Horia Şerbănescu (1991). The Romanian Army of World War 2. Men At Arms 246. Osprey. ISBN 1-85532-169-6, ISBN 978-1-85532-169-4. Use of horses during World War II (1939–1945) German soldier and his horse in the Russian SFSR, 1941. In two months, December 1941 and January 1942, the German Army on the Eastern Front lost 179,000 horses. [1] Breker typified the thesis of a remarkable new exhibition in Berlin, that Hitler’s favourite artists and sculptors survived the Third Reich and filled public spaces of the new Federal Republic of Germany with artworks scarcely different from those they had produced between 1933 and 1945.

Hitler’s Horses by Arthur Brand, review: a shadowy tale of

In the Thirties, Adolf Hitler commissioned his favourite artists, such as Josef Thorak, Arno Breker and Fritz Klimsch, to produce a number of huge bronze sculptures that depicted German power and mastery. They included Thorak’s Schreitende Pferde (“Striding Horses”), two 10ft tall equine statues that were placed on either side of the steps to the garden at the rear of Hitler’s Chancellery in Berlin. “Whenever he stared outside,” writes Arthur Brand, “hatching plans to conquer the world, his view would include Thorak’s horses.” Kevin Conley Ruffner (1990). Luftwaffe Field Divisions 1941–45. Men At Arms 229. Osprey. ISBN 1-85532-100-9, ISBN 978-1-85532-100-7. 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.”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. Without giving details, the government said in the statement that it plans to exhibit the monumental horses by Thorak. 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. a b c d e f g h i j k l m n o p q r s German horse cavalry and transport. Intelligence Bulletin, March 1946.