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[…]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.
Conceived as the central memorial for those who fell in action while fighting for the sovereignty of the Latvian people […]In Italy, the commemorative culture regarding World War II has a rather multi-faceted appearance.
This seems to be the consequence of the variety of military and civil groups involved in the Italian front as well as in the political post-war scene.
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.
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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.
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From the spread of spontaneous local monuments right after the war to the construction of huge ossuaries during the Fascist Regime […]This article addresses the commemorative practices in Flanders from World War I through World War II.
Flemish and Belgian nationalist concerns affected the implementation of postwar national cemeteries.