- published: 30 Sep 2015
- views: 1108
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U.S. Army Special Film Report #53
Event Date: April/May 1945
Genre: Documentary
Description: Reel 1 starts at 06:01:06 but has not been digitized
06:12:46 Reel 2: "Activities in European Theater of Operations" In Germany, Schweinfurt citizens gather in courtyard. Confiscated art, belongings, etc. German male civilians march in columns in streets to be screened by US counter-intelligence. Cached gold and art treasures emoved from Merkers salt mine. Nordhausen citizens loot shops, walk through streets, stopped by armed US soldiers, forced to surrender stolen goods. French POW camp in Seurst, Germany. The liberated wave out of three story building windows, give hugs, pats, and kisses to liberating soldiers, large crowd, US and French ranking officers shake hands, raising of French and US flag, formerly imprisoned French soldiers saluting/marching out. Scenes of Nordhausen concentration camp with dead and sick prisoners.
06:16:58 "Additional Atrocity Films" Pan of three buildings, ruins, corpses scattered on ground around Nordhausen camp. MS, four emaciated survivors. CU, survivors evacuated by medics and Red Cross; praying, crying man boarding ambulance. 600 male Germans with shovels forced to assist burial. Corpses carried to gravesite. Priest administers last rites. LS, many bodies lined up on ground. CUs, skeletons. Gens. Eisenhower, Bradley, and Patton tour Ohrdruf. Corpses, torture demonstrations. US jeeps enter Penig, tortured/wounded Hungarian women survivors inspected by medics. Red Cross ambulances, survivors on stretchers. Woman helped by two soldiers. Ambulances travel to hospital, helping survivors out of vehicle and into hospital. LS, survivors in litters, in hospital beds. Aerial of barn in Gardelegen. CUs, burnt corpses, survivors. Civilians march with shovels and wooden white crosses to perform burial in mass grave. MS, field of white crosses. Pan, HS Buchenwald camp grounds. Oven with bodies. Mound of bones and ashes. Pan of soldiers looking at pile of naked bodies. CUs, corpses and survivors.
06:23:31 Trench foot wound. Weimar citizens forced to view evidence of atrocities at Buchenwald. Entering camp, survivors stand behind barbed wire in BG. Bodies on truck beds. Parchment display, shrunken heads, tattoos. Pan, Germans react. LS, field, ash on ground, bodies in Leipzig. CUs, bodies, twisted/burnt. Inmates "frozen," shot to death as escaping or electrocuted by fence. Liberated Russian woman stares at bodies behind barbed wire.
06:26:00 "Mediterranean Surrender" Men, women, and boys captured with German army in the Ruhr. German tank battalion surrenders. Troops are greeted at Bologna, Italy. Gen. Clark and the signing of the Italian surrender. 06:30:24 "USA Secretary Stimson and Gen. Marshall make VE Day Statement..." MS, both speak directly into camera from desks.
Notes: The three reels of NARA 111 SFR 53 [from 06:01:06 to 06:32:48] contain a US Army "Special Film Report" that is a compilation of newsreels. Material covered includes: Pacific-Activities on Okinawa; Iwo Japs in Dawn Sortie; Mop-Up in Manila Harbor; Atrocities in the European Theater of Operations; Additional Atrocity Films; Mediterranean Surrender; and USA Secretary Stimson and Gen. Marshall Make VE Day Statements... Reel 1 (not digitized) starts at 06:01:06 Reel 2 starts at 06:12:46 Reel 3 starts at 06:23:31
Original Archive Number: 111 SFR 53 R1-3
Producer: US Army Signal Corps
Locale: Nordhausen, Germany, Buchenwald, Germany, Leipzig, Germany, Italy, Ohrdruf, Germany, Ruhr Valley, Germany, Penig, Germany & Weimar, Germany.
Source: National Archives and Records Administration (NARA)
Special Collection: Steven Spielberg Film and Video Archive
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann Goering's collection of art looted from occupied Europe. White flags in windows in Munich. Bomb damage of Hitler's house and retreat at Berchtesgaden. Snow on mountains, seen through main window. INT, bomb damaged room. Guard outside entrance, seen through underground passage. Jeep entering main entrance; guard saluting; Gen. Albert Kesselring and aides enter sun porch, sitting at table, talking. Gen. Maxwell D. Taylor and Col. Ned D. Moore of the 101st Airborne Division leave building and meet Col. Charles H. Chase. AVs, Hitler's retreat. MSs, German POWs clean up bomb damage; march back to camp with pick-axes and shovels. Capt. Harry Anderson sitting at desk. Walter Andreas Hofer, art dealer; principle buyer for Goering, and Director of his gallery at Carinhall -- brings in file of papers found in one of the freight cars. Anderson holding a receipt from Dr. Galerie W. A. Luz. Goering's solid gold blotter and ink stand set on Anderson's desk. Street sign: "Berchtesgaden Postamt." [Post office] People wait in line outside food shop. CU, sign: "Off Limits - This building is not to be entered or used for any Military Purpose." MLS, people wait in line at food shop. MSs, men of the 101st Airborne Division carry wood sculptures and paintings, including the "Adam and Eve" oil painting by Franz Floris from 1550, from cave and load them into truck. CU, men walk into building. Sign, "Hermann Goering's Art Collection through the Courtesy of 101st Airborne Division in Unterstein." Guard at entrance. MCUs, Walter Andreas Hofer shows art to Sgt Harold A. Way, including Franz Hals' "Portrait of a Priest," Ruben's portrait of his wife, and paintings by Froumant van Dyke and Burgemaster Moos. Pan across room filled with paintings and statues. Army truck arrives at building, men get out of truck, enter building. US military personnel unload paintings and statues and triptych altar from train onto trucks. Virgin Mary statue at open door of freight car.
Original Archive Number: 18 CS 4000
Producer: US Army Air Force, 3d CCU
Locale: Berchtesgaden, Germany
Obersalzberg, Germany
Source: National Archives and Records Administration (NARA)
Special Collection: Steven Spielberg Film and Video Archive
- published: 04 Sep 2015
- views: 2382
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Yehudi Menuhin came to Russia right after WWII to play in his parents' country of birth. The posters appeared: violinist Yehudi Menuhin is going to play three concerts, two solo recitals (with pianists Lev Oborin in Sonatas by Franck and Debussy, and Abraham Makarov accompanying ) and one with orchestra performing three concertos: Bach in D minor for two violins with David Oistrakh, Beethoven and Brahms, all with Alexander Orlov conducting. All income from these concerts would benefit wounded soldiers of the Red Army.
At this time I was a student at the Music School of the Moscow Conservatory. The rumors that this great American violinist, whose parents had been from Russia, was now coming to Moscow, excited the Soviet musical establishment to the point of frenzy. Once the concert was announced, tickets were out of reach for ordinary Soviet citizens. In fact, Professor Alexander Feodorovich Goedike, a famous organist and composer with whom I studied chamber music, once told me: "My dear, all the tickets have been sent to the Kremlin Communists". What to do? And so, my friend and classmate Lelik Zisman, also a violinist (as matter of fact, he was from Odessa) and I decided to ask the Director of the Great Hall of the Moscow Conservatory Yefim Borisovich Galanter for tickets. We went to his office and Lelik with tears in his eyes said: "We are students of Professors Zeitlin and Yampolsky (the most important violin teachers in USSR), please, help us!" --"Nothing left"-said Yefim Borisovich, but as though sensing the desperation of two poor Jewish boys, and perhaps recalling his own childhood, he took a piece of paper and wrote, "Let two pass," and signed. That evening we heard this famous recital, which fortunately was recorded, and now you can hear the same on our "time machine"!
From the recollections of Yuri Beliavsky
Great Hall of the Moscow Conservatory. November 16, 1945. Live broadcast.
Yehudi Menuhin, violin
Saint-Saens, Introduction and Rondo Capriccioso;
Wieniawski, Scherzo-Tarantelle;
Novacek, Perpetuum Mobile;
Sarasate, Zigeunerweisen;
Tchaikovsky, Serenade Melancolique;
Dvorak- Kreisler,Slavonic Dance;
Kreisler, Caprice Viennois;
Debussy-Hartman, La Fille aus cheveux de lin;
Bartok, Six dances populaires roumaines;
Bloch Nigun from "Baal Shem".
Abraham Makarov, piano
"The Old Jew", painting by Ninah Beliavsky c.1981
Drawing of YB by Daniel Beliavsky c.1985
Photo of YB by Esther Shapiro c.1976
YB at the time of Yom Kippur War in Israeli Army c.1973
www.artofviolin.net
www.opus1films.com
- published: 20 Sep 2012
- views: 46759
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia Jones, by Carrie McILwain And Jason Alan Ramos.
- published: 11 Apr 2009
- views: 1195
all photos: http://imgur.com/a/0qShK
http://moscowmanege.ru/ru/
Romantic Realism at the Manege: New Look at Soviet Art
(The Moscow Times article) http://www.themoscowtimes.com/arts_n_ideas/article/romantic-realism-at-the-manege-new-look-at-soviet-art/548107.html
- published: 24 Nov 2015
- views: 150
Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in designing, synchronizing, and conducting battles and major operations to achieve strategic goals. Until now, historians of military theory have generally agreed that modern operational art developed between the first and second world wars in Germany and the Soviet Union, whose armies were supposedly the innovators and greatest practitioners of operational art. Some have even claimed that U.S. forces struggled in World War II because their commanders had no systematic understanding of operational art. Michael R. Matheny believes previous studies have not appreciated the evolution of U.S. military thinking at the operational level. Although they may rightly point to the U.S. Army's failure to modernize or develop a sophisticated combined arms doctrine during the interwar years, they focus too much on technology or tactical doctrine. In his revealing account, Matheny shows that it was at the operational level, particularly in mounting joint and combined operations, that senior American commanders excelled—and laid a foundation for their country's victory in World War II. Matheny draws on archival materials from military educational institutions, planning documents, and operational records of World War II campaigns. Examining in detail the development of American operational art as land, sea, and air power matured in the twentieth century, he shows that, contrary to conventional wisdom, U.S. war colleges educated and trained commanders during the interwar years specifically for the operational art they employed in World War II. After 1945, in the face of nuclear warfare, the American military largely abandoned operational art. But since the Vietnam War, U.S. commanders have found operational art increasingly important as they pursue modern global and expeditionary warfare requiring coordination among multiple service branches and the forces of allied countries.
Length: 67 Minutes
Lecture Date: May 12, 2011
- published: 16 Jul 2014
- views: 686
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011.
Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.
TruthBeauty is proudly sponsored by LOCKHEED MARTIN
Organized by George Eastman House and Vancouver Art Gallery
© The Phillips Collection, 2010
- published: 25 Oct 2010
- views: 3749
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found looted art and the Reichsbank gold at the Merkers salt mine in Thuringia. This newsreel shows the soldiers in the mine. While the treasure was being reviewed on April 8, Americans found an enormous number of artworks. Capt. Robert Posey, a Monuments, Fine Arts and Archives (MFA&A;) officer with the Third Army, Lincoln Kirsten and Major Perera inspected the artworks the gold and currency.
All footage can be licensed at footage.framepool.com
- published: 21 Mar 2014
- views: 2534
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in August 1945 shows the finding of looted art in Berchtesgaden and Neuschwanstein Castle.
A newsreel about the findings of looted art in Berchtesgaden and Neuschwanstein Castle. In Berchtesgaden the 101st Airborne Division found more than 1,000 paintings and sculptures collected by Hermann Göring. The cache had been evacuated from his country estate, Carinhall, and moved to Berchtesgaden in April 1945 to protect it from the invading Russians. The film shows Major Harry V. Anderson working on an inventory of the masterpieces found. The civilian who shows the paintings is the galerist of Hermann Göring, Walter Andreas Hofer. The inventory lists masterpices of Old Masters like P.P. Rubens, Titian, van Dyck and others.
Dieser Wochenschaubeitrag wurde von der amerikanischen Militärregierung im August 1945 produziert. Er zeigt die echten "Monuments Men" bei der Arbeit.
All footage shown can be licensed on http://footage.framepool.com
Blog: http://blog.framepool.com
Twitter: http://twitter.com/framepool
Facebook: http://facebook.com/framepool
- published: 12 Feb 2014
- views: 2118
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leonard Feather).
Flashbacks 1920's - 1940's Novelty Songs Of An Era Long Gone Bye. Drug Songs.
Albany Leon Bigard (March 3, 1906 -- June 27, 1980), aka Barney Bigard, was an American jazz clarinetist and tenor saxophonist, though primarily known for the clarinet.
Bigard was born in New Orleans and studied music and clarinet with Lorenzo Tio. He moved to Chicago in the early 1920s, where he worked with Joe "King" Oliver and others. During this period, much of his recording with Oliver and others, including clarinetist Johnny Dodds, was on tenor saxophone, an instrument he played often with great lyricism, as on Oliver's hit recording of "Someday Sweetheart".
In 1927 he joined Duke Ellington's band in New York, where he stayed until 1942. With Ellington, he was the featured clarinet soloist, while also doing some section work on tenor.
After leaving Ellington, he moved to Los Angeles, California and did sound track work, including an onscreen featured role with an allstar band led by Louis Armstrong in the 1946 film New Orleans.
He began working with trombonist Kid Ory's band during the late 1940s, and later worked with Louis Armstrong's touring band, the All Stars, and others. He died in Culver City, California.
Bigard wrote an autobiography entitled With Louis and The Duke, and he is credited as composer or co-composer on several numbers, notably the Ellington standard "Mood Indigo".
- published: 25 Apr 2011
- views: 25445
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/1945_in_art
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Amelia Jones is an American art historian, art critic and curator specializing in feminist art, body/performance art, video art and Dadaism. Her written works and approach to modern and contemporary art history are considered revolutionary in that she breaks down commonly assumed opinions and offers critiques of the art historical tradition and individual artist's positions in that often elitist sphere.
Amelia Jones, the daughter of Princeton Psychology professor Edward E. Jones, studied art history at Harvard and the University of Pennsylvania. She received her PhD from UCLA in 1991.
Jones has taught art history at UC Riverside, University of Southern California, the Art Center College of Design in Pasadena, CA, and was formerly the Pilkington Chair of the art history department at the University of Manchester. She has also worked as a visiting professor at Maine College of Art, Texas Christian University, University of Colorado, Boulder, and Washington University, St. Louis and is currently a professor and the Grierson Chair in Visual Culture in the Department of Art History and Communication Studies at McGill University.
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/Amelia_Jones
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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20:04WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
U.S. Army Special Film Report #53 Event Date: April/May 1945 Genre: Documentary Description: Reel 1 starts at 06:01:06 but has not been digitized 06:12:46 Reel 2: "Activities in European Theater of Operations" In Germany, Schweinfurt citizens gather in courtyard. Confiscated art, belongings, etc. German male civilians march in columns in streets to be screened by US counter-intelligence. Cached gold and art treasures emoved from Merkers salt mine. Nordhausen citizens loot shops, walk through streets, stopped by armed US soldiers, forced to surrender stolen goods. French POW camp in Seurst, Germany. The liberated wave out of three story building windows, give hugs, pats, and kisses to liberating soldiers, large crowd, US and French ranking officers shake hands, raising of French and US flag, formerly imprisoned French soldiers saluting/marching out. Scenes of Nordhausen concentration camp with dead and sick prisoners. 06:16:58 "Additional Atrocity Films" Pan of three buildings, ruins, corpses scattered on ground around Nordhausen camp. MS, four emaciated survivors. CU, survivors evacuated by medics and Red Cross; praying, crying man boarding ambulance. 600 male Germans with shovels forced to assist burial. Corpses carried to gravesite. Priest administers last rites. LS, many bodies lined up on ground. CUs, skeletons. Gens. Eisenhower, Bradley, and Patton tour Ohrdruf. Corpses, torture demonstrations. US jeeps enter Penig, tortured/wounded Hungarian women survivors inspected by medics. Red Cross ambulances, survivors on stretchers. Woman helped by two soldiers. Ambulances travel to hospital, helping survivors out of vehicle and into hospital. LS, survivors in litters, in hospital beds. Aerial of barn in Gardelegen. CUs, burnt corpses, survivors. Civilians march with shovels and wooden white crosses to perform burial in mass grave. MS, field of white crosses. Pan, HS Buchenwald camp grounds. Oven with bodies. Mound of bones and ashes. Pan of soldiers looking at pile of naked bodies. CUs, corpses and survivors. 06:23:31 Trench foot wound. Weimar citizens forced to view evidence of atrocities at Buchenwald. Entering camp, survivors stand behind barbed wire in BG. Bodies on truck beds. Parchment display, shrunken heads, tattoos. Pan, Germans react. LS, field, ash on ground, bodies in Leipzig. CUs, bodies, twisted/burnt. Inmates "frozen," shot to death as escaping or electrocuted by fence. Liberated Russian woman stares at bodies behind barbed wire. 06:26:00 "Mediterranean Surrender" Men, women, and boys captured with German army in the Ruhr. German tank battalion surrenders. Troops are greeted at Bologna, Italy. Gen. Clark and the signing of the Italian surrender. 06:30:24 "USA Secretary Stimson and Gen. Marshall make VE Day Statement..." MS, both speak directly into camera from desks. Notes: The three reels of NARA 111 SFR 53 [from 06:01:06 to 06:32:48] contain a US Army "Special Film Report" that is a compilation of newsreels. Material covered includes: Pacific-Activities on Okinawa; Iwo Japs in Dawn Sortie; Mop-Up in Manila Harbor; Atrocities in the European Theater of Operations; Additional Atrocity Films; Mediterranean Surrender; and USA Secretary Stimson and Gen. Marshall Make VE Day Statements... Reel 1 (not digitized) starts at 06:01:06 Reel 2 starts at 06:12:46 Reel 3 starts at 06:23:31 Original Archive Number: 111 SFR 53 R1-3 Producer: US Army Signal Corps Locale: Nordhausen, Germany, Buchenwald, Germany, Leipzig, Germany, Italy, Ohrdruf, Germany, Ruhr Valley, Germany, Penig, Germany & Weimar, Germany. Source: National Archives and Records Administration (NARA) Special Collection: Steven Spielberg Film and Video Archive -
10:01WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann Goering's collection of art looted from occupied Europe. White flags in windows in Munich. Bomb damage of Hitler's house and retreat at Berchtesgaden. Snow on mountains, seen through main window. INT, bomb damaged room. Guard outside entrance, seen through underground passage. Jeep entering main entrance; guard saluting; Gen. Albert Kesselring and aides enter sun porch, sitting at table, talking. Gen. Maxwell D. Taylor and Col. Ned D. Moore of the 101st Airborne Division leave building and meet Col. Charles H. Chase. AVs, Hitler's retreat. MSs, German POWs clean up bomb damage; march back to camp with pick-axes and shovels. Capt. Harry Anderson sitting at desk. Walter Andreas Hofer, art dealer; principle buyer for Goering, and Director of his gallery at Carinhall -- brings in file of papers found in one of the freight cars. Anderson holding a receipt from Dr. Galerie W. A. Luz. Goering's solid gold blotter and ink stand set on Anderson's desk. Street sign: "Berchtesgaden Postamt." [Post office] People wait in line outside food shop. CU, sign: "Off Limits - This building is not to be entered or used for any Military Purpose." MLS, people wait in line at food shop. MSs, men of the 101st Airborne Division carry wood sculptures and paintings, including the "Adam and Eve" oil painting by Franz Floris from 1550, from cave and load them into truck. CU, men walk into building. Sign, "Hermann Goering's Art Collection through the Courtesy of 101st Airborne Division in Unterstein." Guard at entrance. MCUs, Walter Andreas Hofer shows art to Sgt Harold A. Way, including Franz Hals' "Portrait of a Priest," Ruben's portrait of his wife, and paintings by Froumant van Dyke and Burgemaster Moos. Pan across room filled with paintings and statues. Army truck arrives at building, men get out of truck, enter building. US military personnel unload paintings and statues and triptych altar from train onto trucks. Virgin Mary statue at open door of freight car. Original Archive Number: 18 CS 4000 Producer: US Army Air Force, 3d CCU Locale: Berchtesgaden, Germany Obersalzberg, Germany Source: National Archives and Records Administration (NARA) Special Collection: Steven Spielberg Film and Video Archive -
54:54"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Yehudi Menuhin came to Russia right after WWII to play in his parents' country of birth. The posters appeared: violinist Yehudi Menuhin is going to play three concerts, two solo recitals (with pianists Lev Oborin in Sonatas by Franck and Debussy, and Abraham Makarov accompanying ) and one with orchestra performing three concertos: Bach in D minor for two violins with David Oistrakh, Beethoven and Brahms, all with Alexander Orlov conducting. All income from these concerts would benefit wounded soldiers of the Red Army. At this time I was a student at the Music School of the Moscow Conservatory. The rumors that this great American violinist, whose parents had been from Russia, was now coming to Moscow, excited the Soviet musical establishment to the point of frenzy. Once the concert was announced, tickets were out of reach for ordinary Soviet citizens. In fact, Professor Alexander Feodorovich Goedike, a famous organist and composer with whom I studied chamber music, once told me: "My dear, all the tickets have been sent to the Kremlin Communists". What to do? And so, my friend and classmate Lelik Zisman, also a violinist (as matter of fact, he was from Odessa) and I decided to ask the Director of the Great Hall of the Moscow Conservatory Yefim Borisovich Galanter for tickets. We went to his office and Lelik with tears in his eyes said: "We are students of Professors Zeitlin and Yampolsky (the most important violin teachers in USSR), please, help us!" --"Nothing left"-said Yefim Borisovich, but as though sensing the desperation of two poor Jewish boys, and perhaps recalling his own childhood, he took a piece of paper and wrote, "Let two pass," and signed. That evening we heard this famous recital, which fortunately was recorded, and now you can hear the same on our "time machine"! From the recollections of Yuri Beliavsky Great Hall of the Moscow Conservatory. November 16, 1945. Live broadcast. Yehudi Menuhin, violin Saint-Saens, Introduction and Rondo Capriccioso; Wieniawski, Scherzo-Tarantelle; Novacek, Perpetuum Mobile; Sarasate, Zigeunerweisen; Tchaikovsky, Serenade Melancolique; Dvorak- Kreisler,Slavonic Dance; Kreisler, Caprice Viennois; Debussy-Hartman, La Fille aus cheveux de lin; Bartok, Six dances populaires roumaines; Bloch Nigun from "Baal Shem". Abraham Makarov, piano "The Old Jew", painting by Ninah Beliavsky c.1981 Drawing of YB by Daniel Beliavsky c.1985 Photo of YB by Esther Shapiro c.1976 YB at the time of Yom Kippur War in Israeli Army c.1973 www.artofviolin.net www.opus1films.com -
3:07A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia JonesA Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia Jones, by Carrie McILwain And Jason Alan Ramos. -
57:33National Art of Sumo volume 18 : 1936 -- 1945
National Art of Sumo volume 18 : 1936 -- 1945 -
10:55Romantic Realism Soviet Art of 1925‒1945. Романтический реализм
Romantic Realism Soviet Art of 1925‒1945. Романтический реализмRomantic Realism Soviet Art of 1925‒1945. Романтический реализм
all photos: http://imgur.com/a/0qShK http://moscowmanege.ru/ru/ Romantic Realism at the Manege: New Look at Soviet Art (The Moscow Times article) http://www.themoscowtimes.com/arts_n_ideas/article/romantic-realism-at-the-manege-new-look-at-soviet-art/548107.html -
66:41"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in designing, synchronizing, and conducting battles and major operations to achieve strategic goals. Until now, historians of military theory have generally agreed that modern operational art developed between the first and second world wars in Germany and the Soviet Union, whose armies were supposedly the innovators and greatest practitioners of operational art. Some have even claimed that U.S. forces struggled in World War II because their commanders had no systematic understanding of operational art. Michael R. Matheny believes previous studies have not appreciated the evolution of U.S. military thinking at the operational level. Although they may rightly point to the U.S. Army's failure to modernize or develop a sophisticated combined arms doctrine during the interwar years, they focus too much on technology or tactical doctrine. In his revealing account, Matheny shows that it was at the operational level, particularly in mounting joint and combined operations, that senior American commanders excelled—and laid a foundation for their country's victory in World War II. Matheny draws on archival materials from military educational institutions, planning documents, and operational records of World War II campaigns. Examining in detail the development of American operational art as land, sea, and air power matured in the twentieth century, he shows that, contrary to conventional wisdom, U.S. war colleges educated and trained commanders during the interwar years specifically for the operational art they employed in World War II. After 1945, in the face of nuclear warfare, the American military largely abandoned operational art. But since the Vietnam War, U.S. commanders have found operational art increasingly important as they pursue modern global and expeditionary warfare requiring coordination among multiple service branches and the forces of allied countries. Length: 67 Minutes Lecture Date: May 12, 2011 -
3:16TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips CollectionTruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011. Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham. TruthBeauty is proudly sponsored by LOCKHEED MARTIN Organized by George Eastman House and Vancouver Art Gallery © The Phillips Collection, 2010 -
0:51Monuments Men at work - Looted Art at Merkers Salt Mine 1945
Monuments Men at work - Looted Art at Merkers Salt Mine 1945Monuments Men at work - Looted Art at Merkers Salt Mine 1945
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found looted art and the Reichsbank gold at the Merkers salt mine in Thuringia. This newsreel shows the soldiers in the mine. While the treasure was being reviewed on April 8, Americans found an enormous number of artworks. Capt. Robert Posey, a Monuments, Fine Arts and Archives (MFA&A;) officer with the Third Army, Lincoln Kirsten and Major Perera inspected the artworks the gold and currency. All footage can be licensed at footage.framepool.com -
7:45Art Tatum plays "How High the Moon" (1944/1945/1949)
Art Tatum plays "How High the Moon" (1944/1945/1949) -
2:55Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in August 1945 shows the finding of looted art in Berchtesgaden and Neuschwanstein Castle. A newsreel about the findings of looted art in Berchtesgaden and Neuschwanstein Castle. In Berchtesgaden the 101st Airborne Division found more than 1,000 paintings and sculptures collected by Hermann Göring. The cache had been evacuated from his country estate, Carinhall, and moved to Berchtesgaden in April 1945 to protect it from the invading Russians. The film shows Major Harry V. Anderson working on an inventory of the masterpieces found. The civilian who shows the paintings is the galerist of Hermann Göring, Walter Andreas Hofer. The inventory lists masterpices of Old Masters like P.P. Rubens, Titian, van Dyck and others. Dieser Wochenschaubeitrag wurde von der amerikanischen Militärregierung im August 1945 produziert. Er zeigt die echten "Monuments Men" bei der Arbeit. All footage shown can be licensed on http://footage.framepool.com Blog: http://blog.framepool.com Twitter: http://twitter.com/framepool Facebook: http://facebook.com/framepool -
2:59Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leonard Feather). Flashbacks 1920's - 1940's Novelty Songs Of An Era Long Gone Bye. Drug Songs. Albany Leon Bigard (March 3, 1906 -- June 27, 1980), aka Barney Bigard, was an American jazz clarinetist and tenor saxophonist, though primarily known for the clarinet. Bigard was born in New Orleans and studied music and clarinet with Lorenzo Tio. He moved to Chicago in the early 1920s, where he worked with Joe "King" Oliver and others. During this period, much of his recording with Oliver and others, including clarinetist Johnny Dodds, was on tenor saxophone, an instrument he played often with great lyricism, as on Oliver's hit recording of "Someday Sweetheart". In 1927 he joined Duke Ellington's band in New York, where he stayed until 1942. With Ellington, he was the featured clarinet soloist, while also doing some section work on tenor. After leaving Ellington, he moved to Los Angeles, California and did sound track work, including an onscreen featured role with an allstar band led by Louis Armstrong in the 1946 film New Orleans. He began working with trombonist Kid Ory's band during the late 1940s, and later worked with Louis Armstrong's touring band, the All Stars, and others. He died in Culver City, California. Bigard wrote an autobiography entitled With Louis and The Duke, and he is credited as composer or co-composer on several numbers, notably the Ellington standard "Mood Indigo".
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- Amsterdam
- Anselm Kiefer
- April 22
- Archibald Prize
- August 18
- August 19
- August 4
- Barbara Kruger
- Basket of Bread
- Brummbaer
- Canada
- Category 1945
- Catherine Leroy
- Conceptual art
- Constantine Andreou
- Daisy Youngblood
- David Young Cameron
- Elizabeth Shoumatoff
- France
- Franklin Carmichael
- Franz Sedlacek
- Frederik H. Kreuger
- Germany
- Han van Meegeren
- Hando Ruus
- Ignacio Zuloaga
- Jack Goldstein
- Jackson Pollock
- January 25
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- Joe Rosenthal
- Josef Čapek
- Joseph Kosuth
- July 16
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- Käthe Kollwitz
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- List of years in art
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- Open Salon
- Paul McCarthy
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- Political cartoon
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- Sean Scully
- September 16
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- Susan Rothenberg
- Suzanne Lacy
- The Drover's Wife
- The Guardian
- Thomas Hennell
- United States
- Victor Sloan
- William Dargie
- Anselm Kiefer
- Barbara Kruger
- Brummbaer
- Catherine Leroy
- Constantine Andreou
- Daisy Youngblood
- David Young Cameron
- Elizabeth Shoumatoff
- Franklin Carmichael
- Franz Sedlacek
- Han van Meegeren
- Hando Ruus
- Ignacio Zuloaga
- Jack Goldstein
- Jackson Pollock
- Joe Rosenthal
- Josef Čapek
- Joseph Kosuth
- Jörg Immendorff
- Käthe Kollwitz
- Lee Krasner
- Marc Chagall
- Nikola Avramov
- Paul McCarthy
- Peter Reginato
- Philip Zec
- René Lalique
- Russell Drysdale
- Salvador Dalí
- Sean Scully
- Susan Rothenberg
- Suzanne Lacy
- Thomas Hennell
- Victor Sloan
- William Dargie
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WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
U.S. Army Special Film Report #53 Event Date: April/May 1945 Genre: Documentary Description: Reel 1 starts at 06:01:06 but has not been digitized 06:12:46 Reel 2: "Activities in European Theater of Operations" In Germany, Schweinfurt citizens gather in courtyard. Confiscated art, belongings, etc. German male civilians march in columns in streets to be screened by US counter-intelligence. Cached gold and art treasures emoved from Merkers salt mine. Nordhausen citizens loot shops, walk through streets, stopped by armed US soldiers, forced to surrender stolen goods. French POW camp in Seurst, Germany. The liberated wave out of three story building windows, give hugs, pats, and kisses to liberating soldiers, large crowd, US and French ranking officers shake hands, raising of French and US flag... -
WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann Goering's collection of art looted from occupied Europe. White flags in windows in Munich. Bomb damage of Hitler's house and retreat at Berchtesgaden. Snow on mountains, seen through main window. INT, bomb damaged room. Guard outside entrance, seen through underground passage. Jeep entering main entrance; guard saluting; Gen. Albert Kesselring and aides enter sun porch, sitting at table, talking. Gen. Maxwell D. Taylor and Col. Ned D. Moore of the 101st Airborne Division leave building and meet Col. Charles H. Chase. AVs, Hitler's retreat. MSs, German POWs clean up bomb damage; march back to camp with pick-axes and shovels. Capt. Harry Anderson sitting at desk. Walter Andreas Hofer, art dealer; princip... -
"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Yehudi Menuhin came to Russia right after WWII to play in his parents' country of birth. The posters appeared: violinist Yehudi Menuhin is going to play three concerts, two solo recitals (with pianists Lev Oborin in Sonatas by Franck and Debussy, and Abraham Makarov accompanying ) and one with orchestra performing three concertos: Bach in D minor for two violins with David Oistrakh, Beethoven and Brahms, all with Alexander Orlov conducting. All income from these concerts would benefit wounded soldiers of the Red Army. At this time I was a student at the Music School of the Moscow Conservatory. The rumors that this great American violinist, whose parents had been from Russia, was now coming to Moscow, e... -
A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia Jones, by Carrie McILwain And Jason Alan Ramos. -
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Romantic Realism Soviet Art of 1925‒1945. Романтический реализм
all photos: http://imgur.com/a/0qShK http://moscowmanege.ru/ru/ Romantic Realism at the Manege: New Look at Soviet Art (The Moscow Times article) http://www.themoscowtimes.com/arts_n_ideas/article/romantic-realism-at-the-manege-new-look-at-soviet-art/548107.html -
"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in designing, synchronizing, and conducting battles and major operations to achieve strategic goals. Until now, historians of military theory have generally agreed that modern operational art developed between the first and second world wars in Germany and the Soviet Union, whose armies were supposedly the innovators and greatest practitioners of operational art. Some have even claimed that U.S. forces struggled in World War II because their commanders had no systematic understanding of operational art. Michael R. Matheny believes previous studies have not appreciated the evolution of U.S. military thinking at the operational level. Altho... -
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011. Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; t... -
Monuments Men at work - Looted Art at Merkers Salt Mine 1945
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found looted art and the Reichsbank gold at the Merkers salt mine in Thuringia. This newsreel shows the soldiers in the mine. While the treasure was being reviewed on April 8, Americans found an enormous number of artworks. Capt. Robert Posey, a Monuments, Fine Arts and Archives (MFA&A;) officer with the Third Army, Lincoln Kirsten and Major Perera inspected the artworks the gold and currency. All footage can be licensed at footage.framepool.com -
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Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in August 1945 shows the finding of looted art in Berchtesgaden and Neuschwanstein Castle. A newsreel about the findings of looted art in Berchtesgaden and Neuschwanstein Castle. In Berchtesgaden the 101st Airborne Division found more than 1,000 paintings and sculptures collected by Hermann Göring. The cache had been evacuated from his country estate, Carinhall, and moved to Berchtesgaden in April 1945 to protect it from the invading Russians. The film shows Major Harry V. Anderson working on an inventory of the masterpieces found. The civilian who shows the paintings is the galerist of Hermann Göring, Walter Andreas Hofer. The inventory lists masterpices of Old Masters like P.P. Rubens, Titian, van Dyck an... -
Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leonard Feather). Flashbacks 1920's - 1940's Novelty Songs Of An Era Long Gone Bye. Drug Songs. Albany Leon Bigard (March 3, 1906 -- June 27, 1980), aka Barney Bigard, was an American jazz clarinetist and tenor saxophonist, though primarily known for the clarinet. Bigard was born in New Orleans and studied music and clarinet with Lorenzo Tio. He moved to Chicago in the early 1920s, where he worked with Joe "King" Oliver and others. During this period, much of his recording with Oliver and others, including clarinetist Johnny Dodds, was on tenor saxophone, an instrument he played often with great lyricism, as on Oliver's hit recording of "Someday Sweetheart". In 1927 he joined Duke Ellington's band in ...
WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
- Order: Reorder
- Duration: 20:04
- Updated: 30 Sep 2015
- views: 1108
U.S. Army Special Film Report #53
Event Date: April/May 1945
Genre: Documentary
Description: Reel 1 starts at 06:01:06 but has not been digitized
06:12:46 Reel ...
U.S. Army Special Film Report #53
Event Date: April/May 1945
Genre: Documentary
Description: Reel 1 starts at 06:01:06 but has not been digitized
06:12:46 Reel 2: "Activities in European Theater of Operations" In Germany, Schweinfurt citizens gather in courtyard. Confiscated art, belongings, etc. German male civilians march in columns in streets to be screened by US counter-intelligence. Cached gold and art treasures emoved from Merkers salt mine. Nordhausen citizens loot shops, walk through streets, stopped by armed US soldiers, forced to surrender stolen goods. French POW camp in Seurst, Germany. The liberated wave out of three story building windows, give hugs, pats, and kisses to liberating soldiers, large crowd, US and French ranking officers shake hands, raising of French and US flag, formerly imprisoned French soldiers saluting/marching out. Scenes of Nordhausen concentration camp with dead and sick prisoners.
06:16:58 "Additional Atrocity Films" Pan of three buildings, ruins, corpses scattered on ground around Nordhausen camp. MS, four emaciated survivors. CU, survivors evacuated by medics and Red Cross; praying, crying man boarding ambulance. 600 male Germans with shovels forced to assist burial. Corpses carried to gravesite. Priest administers last rites. LS, many bodies lined up on ground. CUs, skeletons. Gens. Eisenhower, Bradley, and Patton tour Ohrdruf. Corpses, torture demonstrations. US jeeps enter Penig, tortured/wounded Hungarian women survivors inspected by medics. Red Cross ambulances, survivors on stretchers. Woman helped by two soldiers. Ambulances travel to hospital, helping survivors out of vehicle and into hospital. LS, survivors in litters, in hospital beds. Aerial of barn in Gardelegen. CUs, burnt corpses, survivors. Civilians march with shovels and wooden white crosses to perform burial in mass grave. MS, field of white crosses. Pan, HS Buchenwald camp grounds. Oven with bodies. Mound of bones and ashes. Pan of soldiers looking at pile of naked bodies. CUs, corpses and survivors.
06:23:31 Trench foot wound. Weimar citizens forced to view evidence of atrocities at Buchenwald. Entering camp, survivors stand behind barbed wire in BG. Bodies on truck beds. Parchment display, shrunken heads, tattoos. Pan, Germans react. LS, field, ash on ground, bodies in Leipzig. CUs, bodies, twisted/burnt. Inmates "frozen," shot to death as escaping or electrocuted by fence. Liberated Russian woman stares at bodies behind barbed wire.
06:26:00 "Mediterranean Surrender" Men, women, and boys captured with German army in the Ruhr. German tank battalion surrenders. Troops are greeted at Bologna, Italy. Gen. Clark and the signing of the Italian surrender. 06:30:24 "USA Secretary Stimson and Gen. Marshall make VE Day Statement..." MS, both speak directly into camera from desks.
Notes: The three reels of NARA 111 SFR 53 [from 06:01:06 to 06:32:48] contain a US Army "Special Film Report" that is a compilation of newsreels. Material covered includes: Pacific-Activities on Okinawa; Iwo Japs in Dawn Sortie; Mop-Up in Manila Harbor; Atrocities in the European Theater of Operations; Additional Atrocity Films; Mediterranean Surrender; and USA Secretary Stimson and Gen. Marshall Make VE Day Statements... Reel 1 (not digitized) starts at 06:01:06 Reel 2 starts at 06:12:46 Reel 3 starts at 06:23:31
Original Archive Number: 111 SFR 53 R1-3
Producer: US Army Signal Corps
Locale: Nordhausen, Germany, Buchenwald, Germany, Leipzig, Germany, Italy, Ohrdruf, Germany, Ruhr Valley, Germany, Penig, Germany & Weimar, Germany.
Source: National Archives and Records Administration (NARA)
Special Collection: Steven Spielberg Film and Video Archive
wn.com/WW2 Nazi Treasures, Art Atrocities Germans Surrender (1945) | US Army Special Film Report 53
U.S. Army Special Film Report #53
Event Date: April/May 1945
Genre: Documentary
Description: Reel 1 starts at 06:01:06 but has not been digitized
06:12:46 Reel 2: "Activities in European Theater of Operations" In Germany, Schweinfurt citizens gather in courtyard. Confiscated art, belongings, etc. German male civilians march in columns in streets to be screened by US counter-intelligence. Cached gold and art treasures emoved from Merkers salt mine. Nordhausen citizens loot shops, walk through streets, stopped by armed US soldiers, forced to surrender stolen goods. French POW camp in Seurst, Germany. The liberated wave out of three story building windows, give hugs, pats, and kisses to liberating soldiers, large crowd, US and French ranking officers shake hands, raising of French and US flag, formerly imprisoned French soldiers saluting/marching out. Scenes of Nordhausen concentration camp with dead and sick prisoners.
06:16:58 "Additional Atrocity Films" Pan of three buildings, ruins, corpses scattered on ground around Nordhausen camp. MS, four emaciated survivors. CU, survivors evacuated by medics and Red Cross; praying, crying man boarding ambulance. 600 male Germans with shovels forced to assist burial. Corpses carried to gravesite. Priest administers last rites. LS, many bodies lined up on ground. CUs, skeletons. Gens. Eisenhower, Bradley, and Patton tour Ohrdruf. Corpses, torture demonstrations. US jeeps enter Penig, tortured/wounded Hungarian women survivors inspected by medics. Red Cross ambulances, survivors on stretchers. Woman helped by two soldiers. Ambulances travel to hospital, helping survivors out of vehicle and into hospital. LS, survivors in litters, in hospital beds. Aerial of barn in Gardelegen. CUs, burnt corpses, survivors. Civilians march with shovels and wooden white crosses to perform burial in mass grave. MS, field of white crosses. Pan, HS Buchenwald camp grounds. Oven with bodies. Mound of bones and ashes. Pan of soldiers looking at pile of naked bodies. CUs, corpses and survivors.
06:23:31 Trench foot wound. Weimar citizens forced to view evidence of atrocities at Buchenwald. Entering camp, survivors stand behind barbed wire in BG. Bodies on truck beds. Parchment display, shrunken heads, tattoos. Pan, Germans react. LS, field, ash on ground, bodies in Leipzig. CUs, bodies, twisted/burnt. Inmates "frozen," shot to death as escaping or electrocuted by fence. Liberated Russian woman stares at bodies behind barbed wire.
06:26:00 "Mediterranean Surrender" Men, women, and boys captured with German army in the Ruhr. German tank battalion surrenders. Troops are greeted at Bologna, Italy. Gen. Clark and the signing of the Italian surrender. 06:30:24 "USA Secretary Stimson and Gen. Marshall make VE Day Statement..." MS, both speak directly into camera from desks.
Notes: The three reels of NARA 111 SFR 53 [from 06:01:06 to 06:32:48] contain a US Army "Special Film Report" that is a compilation of newsreels. Material covered includes: Pacific-Activities on Okinawa; Iwo Japs in Dawn Sortie; Mop-Up in Manila Harbor; Atrocities in the European Theater of Operations; Additional Atrocity Films; Mediterranean Surrender; and USA Secretary Stimson and Gen. Marshall Make VE Day Statements... Reel 1 (not digitized) starts at 06:01:06 Reel 2 starts at 06:12:46 Reel 3 starts at 06:23:31
Original Archive Number: 111 SFR 53 R1-3
Producer: US Army Signal Corps
Locale: Nordhausen, Germany, Buchenwald, Germany, Leipzig, Germany, Italy, Ohrdruf, Germany, Ruhr Valley, Germany, Penig, Germany & Weimar, Germany.
Source: National Archives and Records Administration (NARA)
Special Collection: Steven Spielberg Film and Video Archive
- published: 30 Sep 2015
- views: 1108
WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
- Order: Reorder
- Duration: 10:01
- Updated: 04 Sep 2015
- views: 2382
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann Goering's collection of art looted from occupied Europe. White flags in...
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann Goering's collection of art looted from occupied Europe. White flags in windows in Munich. Bomb damage of Hitler's house and retreat at Berchtesgaden. Snow on mountains, seen through main window. INT, bomb damaged room. Guard outside entrance, seen through underground passage. Jeep entering main entrance; guard saluting; Gen. Albert Kesselring and aides enter sun porch, sitting at table, talking. Gen. Maxwell D. Taylor and Col. Ned D. Moore of the 101st Airborne Division leave building and meet Col. Charles H. Chase. AVs, Hitler's retreat. MSs, German POWs clean up bomb damage; march back to camp with pick-axes and shovels. Capt. Harry Anderson sitting at desk. Walter Andreas Hofer, art dealer; principle buyer for Goering, and Director of his gallery at Carinhall -- brings in file of papers found in one of the freight cars. Anderson holding a receipt from Dr. Galerie W. A. Luz. Goering's solid gold blotter and ink stand set on Anderson's desk. Street sign: "Berchtesgaden Postamt." [Post office] People wait in line outside food shop. CU, sign: "Off Limits - This building is not to be entered or used for any Military Purpose." MLS, people wait in line at food shop. MSs, men of the 101st Airborne Division carry wood sculptures and paintings, including the "Adam and Eve" oil painting by Franz Floris from 1550, from cave and load them into truck. CU, men walk into building. Sign, "Hermann Goering's Art Collection through the Courtesy of 101st Airborne Division in Unterstein." Guard at entrance. MCUs, Walter Andreas Hofer shows art to Sgt Harold A. Way, including Franz Hals' "Portrait of a Priest," Ruben's portrait of his wife, and paintings by Froumant van Dyke and Burgemaster Moos. Pan across room filled with paintings and statues. Army truck arrives at building, men get out of truck, enter building. US military personnel unload paintings and statues and triptych altar from train onto trucks. Virgin Mary statue at open door of freight car.
Original Archive Number: 18 CS 4000
Producer: US Army Air Force, 3d CCU
Locale: Berchtesgaden, Germany
Obersalzberg, Germany
Source: National Archives and Records Administration (NARA)
Special Collection: Steven Spielberg Film and Video Archive
wn.com/WW2 Berchtesgaden At Liberation 101St Airborne Division Hermann Goering's Art Collection (1945)
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann Goering's collection of art looted from occupied Europe. White flags in windows in Munich. Bomb damage of Hitler's house and retreat at Berchtesgaden. Snow on mountains, seen through main window. INT, bomb damaged room. Guard outside entrance, seen through underground passage. Jeep entering main entrance; guard saluting; Gen. Albert Kesselring and aides enter sun porch, sitting at table, talking. Gen. Maxwell D. Taylor and Col. Ned D. Moore of the 101st Airborne Division leave building and meet Col. Charles H. Chase. AVs, Hitler's retreat. MSs, German POWs clean up bomb damage; march back to camp with pick-axes and shovels. Capt. Harry Anderson sitting at desk. Walter Andreas Hofer, art dealer; principle buyer for Goering, and Director of his gallery at Carinhall -- brings in file of papers found in one of the freight cars. Anderson holding a receipt from Dr. Galerie W. A. Luz. Goering's solid gold blotter and ink stand set on Anderson's desk. Street sign: "Berchtesgaden Postamt." [Post office] People wait in line outside food shop. CU, sign: "Off Limits - This building is not to be entered or used for any Military Purpose." MLS, people wait in line at food shop. MSs, men of the 101st Airborne Division carry wood sculptures and paintings, including the "Adam and Eve" oil painting by Franz Floris from 1550, from cave and load them into truck. CU, men walk into building. Sign, "Hermann Goering's Art Collection through the Courtesy of 101st Airborne Division in Unterstein." Guard at entrance. MCUs, Walter Andreas Hofer shows art to Sgt Harold A. Way, including Franz Hals' "Portrait of a Priest," Ruben's portrait of his wife, and paintings by Froumant van Dyke and Burgemaster Moos. Pan across room filled with paintings and statues. Army truck arrives at building, men get out of truck, enter building. US military personnel unload paintings and statues and triptych altar from train onto trucks. Virgin Mary statue at open door of freight car.
Original Archive Number: 18 CS 4000
Producer: US Army Air Force, 3d CCU
Locale: Berchtesgaden, Germany
Obersalzberg, Germany
Source: National Archives and Records Administration (NARA)
Special Collection: Steven Spielberg Film and Video Archive
- published: 04 Sep 2015
- views: 2382
"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
- Order: Reorder
- Duration: 54:54
- Updated: 20 Sep 2012
- views: 46759
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Yehudi Menuhin came to Russia right after WWII to play in his parents' c...
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Yehudi Menuhin came to Russia right after WWII to play in his parents' country of birth. The posters appeared: violinist Yehudi Menuhin is going to play three concerts, two solo recitals (with pianists Lev Oborin in Sonatas by Franck and Debussy, and Abraham Makarov accompanying ) and one with orchestra performing three concertos: Bach in D minor for two violins with David Oistrakh, Beethoven and Brahms, all with Alexander Orlov conducting. All income from these concerts would benefit wounded soldiers of the Red Army.
At this time I was a student at the Music School of the Moscow Conservatory. The rumors that this great American violinist, whose parents had been from Russia, was now coming to Moscow, excited the Soviet musical establishment to the point of frenzy. Once the concert was announced, tickets were out of reach for ordinary Soviet citizens. In fact, Professor Alexander Feodorovich Goedike, a famous organist and composer with whom I studied chamber music, once told me: "My dear, all the tickets have been sent to the Kremlin Communists". What to do? And so, my friend and classmate Lelik Zisman, also a violinist (as matter of fact, he was from Odessa) and I decided to ask the Director of the Great Hall of the Moscow Conservatory Yefim Borisovich Galanter for tickets. We went to his office and Lelik with tears in his eyes said: "We are students of Professors Zeitlin and Yampolsky (the most important violin teachers in USSR), please, help us!" --"Nothing left"-said Yefim Borisovich, but as though sensing the desperation of two poor Jewish boys, and perhaps recalling his own childhood, he took a piece of paper and wrote, "Let two pass," and signed. That evening we heard this famous recital, which fortunately was recorded, and now you can hear the same on our "time machine"!
From the recollections of Yuri Beliavsky
Great Hall of the Moscow Conservatory. November 16, 1945. Live broadcast.
Yehudi Menuhin, violin
Saint-Saens, Introduction and Rondo Capriccioso;
Wieniawski, Scherzo-Tarantelle;
Novacek, Perpetuum Mobile;
Sarasate, Zigeunerweisen;
Tchaikovsky, Serenade Melancolique;
Dvorak- Kreisler,Slavonic Dance;
Kreisler, Caprice Viennois;
Debussy-Hartman, La Fille aus cheveux de lin;
Bartok, Six dances populaires roumaines;
Bloch Nigun from "Baal Shem".
Abraham Makarov, piano
"The Old Jew", painting by Ninah Beliavsky c.1981
Drawing of YB by Daniel Beliavsky c.1985
Photo of YB by Esther Shapiro c.1976
YB at the time of Yom Kippur War in Israeli Army c.1973
www.artofviolin.net
www.opus1films.com
wn.com/Art Of Violin Yehudi Menuhin In Moscow, Russia, November 16,1945. Live. Wmv
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Yehudi Menuhin came to Russia right after WWII to play in his parents' country of birth. The posters appeared: violinist Yehudi Menuhin is going to play three concerts, two solo recitals (with pianists Lev Oborin in Sonatas by Franck and Debussy, and Abraham Makarov accompanying ) and one with orchestra performing three concertos: Bach in D minor for two violins with David Oistrakh, Beethoven and Brahms, all with Alexander Orlov conducting. All income from these concerts would benefit wounded soldiers of the Red Army.
At this time I was a student at the Music School of the Moscow Conservatory. The rumors that this great American violinist, whose parents had been from Russia, was now coming to Moscow, excited the Soviet musical establishment to the point of frenzy. Once the concert was announced, tickets were out of reach for ordinary Soviet citizens. In fact, Professor Alexander Feodorovich Goedike, a famous organist and composer with whom I studied chamber music, once told me: "My dear, all the tickets have been sent to the Kremlin Communists". What to do? And so, my friend and classmate Lelik Zisman, also a violinist (as matter of fact, he was from Odessa) and I decided to ask the Director of the Great Hall of the Moscow Conservatory Yefim Borisovich Galanter for tickets. We went to his office and Lelik with tears in his eyes said: "We are students of Professors Zeitlin and Yampolsky (the most important violin teachers in USSR), please, help us!" --"Nothing left"-said Yefim Borisovich, but as though sensing the desperation of two poor Jewish boys, and perhaps recalling his own childhood, he took a piece of paper and wrote, "Let two pass," and signed. That evening we heard this famous recital, which fortunately was recorded, and now you can hear the same on our "time machine"!
From the recollections of Yuri Beliavsky
Great Hall of the Moscow Conservatory. November 16, 1945. Live broadcast.
Yehudi Menuhin, violin
Saint-Saens, Introduction and Rondo Capriccioso;
Wieniawski, Scherzo-Tarantelle;
Novacek, Perpetuum Mobile;
Sarasate, Zigeunerweisen;
Tchaikovsky, Serenade Melancolique;
Dvorak- Kreisler,Slavonic Dance;
Kreisler, Caprice Viennois;
Debussy-Hartman, La Fille aus cheveux de lin;
Bartok, Six dances populaires roumaines;
Bloch Nigun from "Baal Shem".
Abraham Makarov, piano
"The Old Jew", painting by Ninah Beliavsky c.1981
Drawing of YB by Daniel Beliavsky c.1985
Photo of YB by Esther Shapiro c.1976
YB at the time of Yom Kippur War in Israeli Army c.1973
www.artofviolin.net
www.opus1films.com
- published: 20 Sep 2012
- views: 46759
A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
- Order: Reorder
- Duration: 3:07
- Updated: 11 Apr 2009
- views: 1195
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia Jones, by Carrie McILwain And Jason Alan Ramos.
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia Jones, by Carrie McILwain And Jason Alan Ramos.
wn.com/A Companion To A Companion To Contemporary Art Since 1945 Edited By Amelia Jones
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia Jones, by Carrie McILwain And Jason Alan Ramos.
- published: 11 Apr 2009
- views: 1195
National Art of Sumo volume 18 : 1936 -- 1945
- Order: Reorder
- Duration: 57:33
- Updated: 21 Aug 2012
- views: 15498
Romantic Realism Soviet Art of 1925‒1945. Романтический реализм
- Order: Reorder
- Duration: 10:55
- Updated: 24 Nov 2015
- views: 150
all photos: http://imgur.com/a/0qShK
http://moscowmanege.ru/ru/
Romantic Realism at the Manege: New Look at Soviet Art
(The Moscow Times article) http://www....
all photos: http://imgur.com/a/0qShK
http://moscowmanege.ru/ru/
Romantic Realism at the Manege: New Look at Soviet Art
(The Moscow Times article) http://www.themoscowtimes.com/arts_n_ideas/article/romantic-realism-at-the-manege-new-look-at-soviet-art/548107.html
wn.com/Romantic Realism Soviet Art Of 1925‒1945. Романтический Реализм
all photos: http://imgur.com/a/0qShK
http://moscowmanege.ru/ru/
Romantic Realism at the Manege: New Look at Soviet Art
(The Moscow Times article) http://www.themoscowtimes.com/arts_n_ideas/article/romantic-realism-at-the-manege-new-look-at-soviet-art/548107.html
- published: 24 Nov 2015
- views: 150
"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
- Order: Reorder
- Duration: 66:41
- Updated: 16 Jul 2014
- views: 686
Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in des...
Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in designing, synchronizing, and conducting battles and major operations to achieve strategic goals. Until now, historians of military theory have generally agreed that modern operational art developed between the first and second world wars in Germany and the Soviet Union, whose armies were supposedly the innovators and greatest practitioners of operational art. Some have even claimed that U.S. forces struggled in World War II because their commanders had no systematic understanding of operational art. Michael R. Matheny believes previous studies have not appreciated the evolution of U.S. military thinking at the operational level. Although they may rightly point to the U.S. Army's failure to modernize or develop a sophisticated combined arms doctrine during the interwar years, they focus too much on technology or tactical doctrine. In his revealing account, Matheny shows that it was at the operational level, particularly in mounting joint and combined operations, that senior American commanders excelled—and laid a foundation for their country's victory in World War II. Matheny draws on archival materials from military educational institutions, planning documents, and operational records of World War II campaigns. Examining in detail the development of American operational art as land, sea, and air power matured in the twentieth century, he shows that, contrary to conventional wisdom, U.S. war colleges educated and trained commanders during the interwar years specifically for the operational art they employed in World War II. After 1945, in the face of nuclear warfare, the American military largely abandoned operational art. But since the Vietnam War, U.S. commanders have found operational art increasingly important as they pursue modern global and expeditionary warfare requiring coordination among multiple service branches and the forces of allied countries.
Length: 67 Minutes
Lecture Date: May 12, 2011
wn.com/Carrying The War To The Enemy, American Operational Art To 1945 By Dr. Michael R. Matheny
Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in designing, synchronizing, and conducting battles and major operations to achieve strategic goals. Until now, historians of military theory have generally agreed that modern operational art developed between the first and second world wars in Germany and the Soviet Union, whose armies were supposedly the innovators and greatest practitioners of operational art. Some have even claimed that U.S. forces struggled in World War II because their commanders had no systematic understanding of operational art. Michael R. Matheny believes previous studies have not appreciated the evolution of U.S. military thinking at the operational level. Although they may rightly point to the U.S. Army's failure to modernize or develop a sophisticated combined arms doctrine during the interwar years, they focus too much on technology or tactical doctrine. In his revealing account, Matheny shows that it was at the operational level, particularly in mounting joint and combined operations, that senior American commanders excelled—and laid a foundation for their country's victory in World War II. Matheny draws on archival materials from military educational institutions, planning documents, and operational records of World War II campaigns. Examining in detail the development of American operational art as land, sea, and air power matured in the twentieth century, he shows that, contrary to conventional wisdom, U.S. war colleges educated and trained commanders during the interwar years specifically for the operational art they employed in World War II. After 1945, in the face of nuclear warfare, the American military largely abandoned operational art. But since the Vietnam War, U.S. commanders have found operational art increasingly important as they pursue modern global and expeditionary warfare requiring coordination among multiple service branches and the forces of allied countries.
Length: 67 Minutes
Lecture Date: May 12, 2011
- published: 16 Jul 2014
- views: 686
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
- Order: Reorder
- Duration: 3:16
- Updated: 25 Oct 2010
- views: 3749
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view ...
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011.
Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.
TruthBeauty is proudly sponsored by LOCKHEED MARTIN
Organized by George Eastman House and Vancouver Art Gallery
© The Phillips Collection, 2010
wn.com/Truthbeauty Pictorialism And The Photograph As Art, 1845 1945 At The Phillips Collection
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011.
Like impressionism, which challenged the traditions of painting, pictorialism expanded the possibilities of photography beyond the literal description of a subject. Pictorialist photographers produced some of the most spectacular photographs in the history of the medium and influenced subsequent developments in modernist photography. Comprising over 120 photographs, this exhibition retraces pictorialism's beginnings with the experiments of Hill and Adamson and Julia Margaret Cameron; through its mastery by Alfred Stieglitz, Gertrude Käsebier, and Alvin Langdon Coburn; to its lasting legacy in early works by Edward Weston and Imogen Cunningham.
TruthBeauty is proudly sponsored by LOCKHEED MARTIN
Organized by George Eastman House and Vancouver Art Gallery
© The Phillips Collection, 2010
- published: 25 Oct 2010
- views: 3749
Monuments Men at work - Looted Art at Merkers Salt Mine 1945
- Order: Reorder
- Duration: 0:51
- Updated: 21 Mar 2014
- views: 2534
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found looted art and the Reichsbank gold at the Merkers salt mine in Thuringia...
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found looted art and the Reichsbank gold at the Merkers salt mine in Thuringia. This newsreel shows the soldiers in the mine. While the treasure was being reviewed on April 8, Americans found an enormous number of artworks. Capt. Robert Posey, a Monuments, Fine Arts and Archives (MFA&A;) officer with the Third Army, Lincoln Kirsten and Major Perera inspected the artworks the gold and currency.
All footage can be licensed at footage.framepool.com
wn.com/Monuments Men At Work Looted Art At Merkers Salt Mine 1945
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found looted art and the Reichsbank gold at the Merkers salt mine in Thuringia. This newsreel shows the soldiers in the mine. While the treasure was being reviewed on April 8, Americans found an enormous number of artworks. Capt. Robert Posey, a Monuments, Fine Arts and Archives (MFA&A;) officer with the Third Army, Lincoln Kirsten and Major Perera inspected the artworks the gold and currency.
All footage can be licensed at footage.framepool.com
- published: 21 Mar 2014
- views: 2534
Art Tatum plays "How High the Moon" (1944/1945/1949)
- Order: Reorder
- Duration: 7:45
- Updated: 13 Aug 2010
- views: 8181
Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
- Order: Reorder
- Duration: 2:55
- Updated: 12 Feb 2014
- views: 2118
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in August 1945 shows the finding of looted art in Berchtesgaden and Neuschwans...
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in August 1945 shows the finding of looted art in Berchtesgaden and Neuschwanstein Castle.
A newsreel about the findings of looted art in Berchtesgaden and Neuschwanstein Castle. In Berchtesgaden the 101st Airborne Division found more than 1,000 paintings and sculptures collected by Hermann Göring. The cache had been evacuated from his country estate, Carinhall, and moved to Berchtesgaden in April 1945 to protect it from the invading Russians. The film shows Major Harry V. Anderson working on an inventory of the masterpieces found. The civilian who shows the paintings is the galerist of Hermann Göring, Walter Andreas Hofer. The inventory lists masterpices of Old Masters like P.P. Rubens, Titian, van Dyck and others.
Dieser Wochenschaubeitrag wurde von der amerikanischen Militärregierung im August 1945 produziert. Er zeigt die echten "Monuments Men" bei der Arbeit.
All footage shown can be licensed on http://footage.framepool.com
Blog: http://blog.framepool.com
Twitter: http://twitter.com/framepool
Facebook: http://facebook.com/framepool
wn.com/Monuments Men At Work Nazi Looted Art In Germany 1945 Nazi Raubkunstfunde 1945
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in August 1945 shows the finding of looted art in Berchtesgaden and Neuschwanstein Castle.
A newsreel about the findings of looted art in Berchtesgaden and Neuschwanstein Castle. In Berchtesgaden the 101st Airborne Division found more than 1,000 paintings and sculptures collected by Hermann Göring. The cache had been evacuated from his country estate, Carinhall, and moved to Berchtesgaden in April 1945 to protect it from the invading Russians. The film shows Major Harry V. Anderson working on an inventory of the masterpieces found. The civilian who shows the paintings is the galerist of Hermann Göring, Walter Andreas Hofer. The inventory lists masterpices of Old Masters like P.P. Rubens, Titian, van Dyck and others.
Dieser Wochenschaubeitrag wurde von der amerikanischen Militärregierung im August 1945 produziert. Er zeigt die echten "Monuments Men" bei der Arbeit.
All footage shown can be licensed on http://footage.framepool.com
Blog: http://blog.framepool.com
Twitter: http://twitter.com/framepool
Facebook: http://facebook.com/framepool
- published: 12 Feb 2014
- views: 2118
Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
- Order: Reorder
- Duration: 2:59
- Updated: 25 Apr 2011
- views: 25445
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leonard Feather).
Flashbacks 1920's - 1940's Novelty Songs Of An Era Long...
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leonard Feather).
Flashbacks 1920's - 1940's Novelty Songs Of An Era Long Gone Bye. Drug Songs.
Albany Leon Bigard (March 3, 1906 -- June 27, 1980), aka Barney Bigard, was an American jazz clarinetist and tenor saxophonist, though primarily known for the clarinet.
Bigard was born in New Orleans and studied music and clarinet with Lorenzo Tio. He moved to Chicago in the early 1920s, where he worked with Joe "King" Oliver and others. During this period, much of his recording with Oliver and others, including clarinetist Johnny Dodds, was on tenor saxophone, an instrument he played often with great lyricism, as on Oliver's hit recording of "Someday Sweetheart".
In 1927 he joined Duke Ellington's band in New York, where he stayed until 1942. With Ellington, he was the featured clarinet soloist, while also doing some section work on tenor.
After leaving Ellington, he moved to Los Angeles, California and did sound track work, including an onscreen featured role with an allstar band led by Louis Armstrong in the 1946 film New Orleans.
He began working with trombonist Kid Ory's band during the late 1940s, and later worked with Louis Armstrong's touring band, the All Stars, and others. He died in Culver City, California.
Bigard wrote an autobiography entitled With Louis and The Duke, and he is credited as composer or co-composer on several numbers, notably the Ellington standard "Mood Indigo".
wn.com/Barney Bigard Sextet Joe Thomas Art Tatim Sweet Marijuana Brown (1945)
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leonard Feather).
Flashbacks 1920's - 1940's Novelty Songs Of An Era Long Gone Bye. Drug Songs.
Albany Leon Bigard (March 3, 1906 -- June 27, 1980), aka Barney Bigard, was an American jazz clarinetist and tenor saxophonist, though primarily known for the clarinet.
Bigard was born in New Orleans and studied music and clarinet with Lorenzo Tio. He moved to Chicago in the early 1920s, where he worked with Joe "King" Oliver and others. During this period, much of his recording with Oliver and others, including clarinetist Johnny Dodds, was on tenor saxophone, an instrument he played often with great lyricism, as on Oliver's hit recording of "Someday Sweetheart".
In 1927 he joined Duke Ellington's band in New York, where he stayed until 1942. With Ellington, he was the featured clarinet soloist, while also doing some section work on tenor.
After leaving Ellington, he moved to Los Angeles, California and did sound track work, including an onscreen featured role with an allstar band led by Louis Armstrong in the 1946 film New Orleans.
He began working with trombonist Kid Ory's band during the late 1940s, and later worked with Louis Armstrong's touring band, the All Stars, and others. He died in Culver City, California.
Bigard wrote an autobiography entitled With Louis and The Duke, and he is credited as composer or co-composer on several numbers, notably the Ellington standard "Mood Indigo".
- published: 25 Apr 2011
- views: 25445
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20:04
WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
U.S. Army Special Film Report #53
Event Date: April/May 1945
Genre: Documentary
Descriptio...
published: 30 Sep 2015
WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
WW2: Nazi Treasures, Art & Atrocities ; Germans Surrender (1945) | US Army Special Film Report #53
- Report rights infringement
- published: 30 Sep 2015
- views: 1108
10:01
WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
Adolf Hitler's 'Berghof' home in Berchtesgaden; 101st Airborne Division recovers Hermann G...
published: 04 Sep 2015
WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
WW2: Berchtesgaden at Liberation - 101st Airborne Division; Hermann Goering's Art Collection (1945)
- Report rights infringement
- published: 04 Sep 2015
- views: 2382
54:54
"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
It was November 1945 in Moscow. The war had ended just a few months before. 29 year old Ye...
published: 20 Sep 2012
"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
"Art of Violin": Yehudi Menuhin in Moscow, Russia, November 16,1945. Live. wmv
- Report rights infringement
- published: 20 Sep 2012
- views: 46759
3:07
A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
A video companion to the text A Companion to Contemporary Art Since 1945 Edited by Amelia ...
published: 11 Apr 2009
A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
A Companion to A Companion to Contemporary Art Since 1945 Edited by Amelia Jones
- Report rights infringement
- published: 11 Apr 2009
- views: 1195
57:33
National Art of Sumo volume 18 : 1936 -- 1945
National Art of Sumo volume 18 : 1936 -- 1945
http://www.dosukoi.fr
published: 21 Aug 2012
National Art of Sumo volume 18 : 1936 -- 1945
10:55
Romantic Realism Soviet Art of 1925‒1945. Романтический реализм
all photos: http://imgur.com/a/0qShK
http://moscowmanege.ru/ru/
Romantic Realism at the Ma...
published: 24 Nov 2015
Romantic Realism Soviet Art of 1925‒1945. Романтический реализм
Romantic Realism Soviet Art of 1925‒1945. Романтический реализм
- Report rights infringement
- published: 24 Nov 2015
- views: 150
66:41
"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
Military commanders turn tactics into strategic victory by means of "operational art," the...
published: 16 Jul 2014
"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
"Carrying the War to the Enemy, American Operational Art to 1945" by Dr. Michael R. Matheny
- Report rights infringement
- published: 16 Jul 2014
- views: 686
3:16
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition Tr...
published: 25 Oct 2010
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945 at The Phillips Collection
- Report rights infringement
- published: 25 Oct 2010
- views: 3749
0:51
Monuments Men at work - Looted Art at Merkers Salt Mine 1945
On April 10 1945 American soldiers of the 3rd army under General George S. Patton found lo...
published: 21 Mar 2014
Monuments Men at work - Looted Art at Merkers Salt Mine 1945
Monuments Men at work - Looted Art at Merkers Salt Mine 1945
- Report rights infringement
- published: 21 Mar 2014
- views: 2534
7:45
Art Tatum plays "How High the Moon" (1944/1945/1949)
Art Tatum, the greatest pianist ever.
A: 0:00 (live,1944)
B: 2:17 (live,1945)
C: 4:41 (19...
published: 13 Aug 2010
Art Tatum plays "How High the Moon" (1944/1945/1949)
2:55
Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
This newsreel footage produced in Germany by the US Group Control Council (USGCC) in Augus...
published: 12 Feb 2014
Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
Monuments Men at work - Nazi looted Art in Germany 1945 / Nazi Raubkunstfunde 1945
- Report rights infringement
- published: 12 Feb 2014
- views: 2118
2:59
Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
Black & White Records 13 A - Song Recorded 1-5-1945 In NYC New York. Song Written By (Leon...
published: 25 Apr 2011
Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
Barney Bigard Sextet Joe Thomas & Art Tatim - Sweet Marijuana Brown (1945)
- Report rights infringement
- published: 25 Apr 2011
- views: 25445
WW2: Nazi Treasures, Art & Atrocities ; Germans Su...
WW2: Berchtesgaden at Liberation - 101st Airborne ...
"Art of Violin": Yehudi Menuhin in Moscow, Russia,...
A Companion to A Companion to Contemporary Art Sin...
National Art of Sumo volume 18 : 1936 -- 1945...
Romantic Realism Soviet Art of 1925‒1945. Романти...
"Carrying the War to the Enemy, American Operation...
TruthBeauty: Pictorialism and the Photograph as Ar...
Monuments Men at work - Looted Art at Merkers Salt...
Art Tatum plays "How High the Moon" (1944/1945/19...
Monuments Men at work - Nazi looted Art in Germany...
Barney Bigard Sextet Joe Thomas & Art Tatim - Swee...
-
Lyrics list:lyrics
-
Promise Me You'll Remember
-
I Have But One Heart
-
To Each His Own
-
Remember Vito Andolini
-
What Is A Youth
-
Nino Rota
Promise Me You'll Remember
Promise me you'll remember
This love together today
We may not have tomorrow
It's not for us to say
Fate isn't kind to lovers
It breaks the hardest hearts
Promise you'll remember
How good we are
Why do I find the sadness
Under your sweetest kiss
Destiny seems to whisper
It won't stay like this
Whenever we're together
I feel time standing still
I only know I love you
And I always will
If we should lose each other
Somewhere inside the dark
Promise me you'll remember
How good we are
Whenever we're together
I feel time standing still
I only know I love you
And I always will
If we should lose each other
Somewhere inside the dark
Promise me you'll remember
How good we are
Time isn't kind to lovers
It breaks the hardest hearts
Promise me you'll remember
