This book is the first illustrated study of the life and work of J. Alphege Brewer (1881-1946), the early20th-century British artist who made his fame producing large, color etchings of European cathedrals and other historical buildings damaged or threatened during WWI. In both the United States and GreatBritain, these etchings and reproductions were proudly hung on parlor walls in solidarity with theAllied cause and as a remembrance of the devastating cultural losses inflicted by the onslaught of war.Brewer's "à la poupée" technique, carried out in his shop in Acton with the assistance of family members, required the plate to be painted entirely anew for each of the authorized 300-500impressions. With the same "dab hand" at the end of his life, Brewer produced exquisite woodcuts of lakes, mountains, and other pastoral views. Chapters on Brewer's life story, techniques, and the artistic context for his war etchings are included, as well as a catalog of his known etchings. Benjamin S. Dunham is a retired music association executive and magazine editor living near CapeCod in Massachusetts, USA. Because of a family connection to James Alphege Brewer, he began collecting his etchings in 2015 and now researches and manages a well-frequented website about the artist (www.jalphegebrewer.info). Mr. Dunham enjoyed an active career in arts administration and journalism, serving in CEO positions with the U.S. National Music Council, the American SymphonyOrchestra, and Chamber Music America and as editor ofSymphony News, American Recorder, andEarly Music America publications.

The author's passion for World War I and of military history began as a lad when he listened to his grandfather, George A. Carlson, tell his life's stories about serving as a 'doughboy' in Europe during the Great War. When his grandfather passed away in 1982, his mother gave to Jeff her father's amazing diary, which included not only lengthy descri

In this extensively revised third edition of The Viking Age: A Reader, Somerville and McDonald successfully bring the Vikings and their world to life for twenty-first-century students and instructors. The diversity of the Viking era is revealed through the remarkable range and variety of sources presented as well as the geographical and chronological coverage of the readings. The third edition has been reorganized into fifteen chapters. Many sources have been added, including material on gender and warrior women, and a completely new final chapter traces the continuing cultural influence of the Vikings to the present day. The use of visual material has been expanded, and updated maps illustrate historical developments throughout the Viking Age. The English translations of Norse texts, many of them new to this collection, are straightforward and easily accessible, while chapter introductions contextualize the readings.

Investigates the groundbreaking role American women played in commemorating those who served and sacrificed in World War I In Forgotten Veterans, Invisible Memorials: How American Women Commemorated the Great War, 1917–1945 Allison S. Finkelstein argues that American women activists considered their own community service and veteran advocacy to be forms of commemoration just as significant and effective as other, more traditional forms of commemoration such as memorials. Finkelstein employs the term “veteranism” to describe these women’s overarching philosophy that supporting, aiding, and caring for those who served needed to be a chief concern of American citizens, civic groups, and the government in the war’s aftermath. However, these women did not express their views solely through their support for veterans of a military service narrowly defined as a group predominantly composed of men and just a few women. Rather, they defined anyone who served or sacrificed during the war, including women like themselves, as veterans. These women veteranists believed that memorialization projects that centered on the people who served and sacrificed was the most appropriate type of postwar commemoration. They passionately advocated for memorials that could help living veterans and the families of deceased service members at a time when postwar monument construction surged at home and abroad. Finkelstein argues that by rejecting or adapting traditional monuments or by embracing aspects of the living memorial building movement, female veteranists placed the plight of all veterans at the center of their commemoration efforts. Their projects included diverse acts of service and advocacy on behalf of people they considered veterans and their families as they pushed to infuse American memorial traditions with their philosophy. In doing so, these women pioneered a relatively new form of commemoration that impacted American practices of remembrance, encouraging Americans to rethink their approach and provided new definitions of what constitutes a memorial. In the process, they shifted the course of American practices, even though their memorialization methods did not achieve the widespread acceptance they had hoped it would. Meticulously researched, Forgotten Veterans, Invisible Memorials utilizes little-studied sources and reinterprets more familiar ones. In addition to the words and records of the women themselves, Finkelstein analyzes cultural landscapes and ephemeral projects to reconstruct the evidence of their influence. Readers will come away with a better understanding of how American women supported the military from outside its ranks before they could fully serve from within, principally through action-based methods of commemoration that remain all the more relevant today.

A longtime CNN columnist astutely combines history and global politics to help us better understanding the exploding number of military, political, and diplomatic crises around the globe. The riveting and illuminating behind-the-scenes stories of the world's most intense “red lines," from diplomatic and military challenges at particular turning points in history to the ones that set the tone of geopolitics today. Whether it was the red line in Munich that led to the start of the Second World War, to the red lines in the South China Sea, the Korean Peninsula, Syria and the Middle East. As we traverse the globe, Andelman uses original documentary research, previously classified material, and interviews with key players, to help us understand the growth, the successes and frequent failures that have shaped our world today. Andelman provides not just vivid historical context, but a political anatomy of these red lines. How might their failures be prevented going forward? When and how can such lines in the sand help preserve peace rather than tempt conflict? A Red Line in the Sand is a vital examination of our present and the future—where does diplomacy end and war begin? It is an object lesson of tantamount importance to every leader, diplomat, citizen, and voter. As America establishes more red lines than it has pledged to defend, every American should understand the volatile atmosphere and the existential stakes of the red web that encompasses the globe.

Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.