Reisen des Volksbundes Deutsche Kriegsgräberfürsorge 1950–2010“, in: Zeithistorische Forschungen/Studies in Contemporary History 14/1 (2017).
This article aims to investigate the possible terms and conditions that Mark Rothko imposes on the encounter between painting and viewer, especially concerning the paintings he made for the Houston Chapel, also called the Rothko Chapel, in 1965-67.
Susanne Neubauer's article on German art historian "Ludwig Grote und die Moderne 1933-1959" (RIHA Journal 0180) looks at Grote's efforts for internationalization after the National Socialist regime, during which Modern art was ostracized.
Grote was actively involved with art in and from Brazil.
[…]The mission of the Verein für christliche Kunst in der evangelischen Landeskirche Württembergs, founded in 1857, was to advise Protestant parishes on aesthetic questions.
During WW1 it started to focus not only on graves and memorials but increasingly also on symbolic forms like medals and decorations.
As a member of the Department of Military Cemeteries […]After World War II, the communist party took control of the nation-building process of the newly established Socialist Federal Republic of Yugoslavia.
World War II played a major role in the narration and was reinterpreted as the People's Revolution.
In this paper two case studies, the Calvary of Klagenfurt and the Way of the Cross in Syców (Groß-Wartenberg), are presented to highlight this phenomenon.
Soldier’s cemeteries, war memorials and the commemorative culture of the war dead are an emerging field of interdisciplinary and transnational research.
Complementary to RIHA Journal’s special issue on this subject recently edited by Christian Fuhrmeister and Kai Kappel (RIHA Journal 0150-0176), see also Wiebke Kolbe, “Trauer und Tourismus.
[…]This paper recapitulates the changes that occurred to the German WWI graves on the Flanders Front from 1914 up to the period past WWII, when the task of maintaining the cemeteries was assigned to the Volksbund Deutsche Kriegsgräberfürsorge.
[…]Robert Tischler, the architect responsible for the two German war memorials in North Africa, in Tobruk, Libya (1954-1955) and in El Alamein, Egypt (1956-1959), had already constructed similar memorials during the National Socialist period.
In 1960, for example, he brought a large exhibition on Lithuanian-Brazilian artist Lasar Segall, organized by the Stedelijk Museum in Amsterdam, to Nuremberg.