CRW Nevinson’s, Making Aircraft; Acetylene Welding, 1917. © IWM (Art.IWM ART 693).
Kathryn Butler, a CDP student at the IWM and Open University, discusses her reactions to the ‘Sensory War 1914-2014′ exhibition.
During a recent trip to the Manchester City Art Gallery, I was intrigued to see the results of several great individuals and institutions working together as part of this year’s First World War Centenary commemorations. Sensory War 1914-2014 was co-curated by Dr Ana Carden Coyne, a director at the Centre of the Cultural History of War at the University of Manchester, where I studied for my MA. The centre works closely with IWM North in Salford, and many works on display were from the IWM collections.
Operation Chastise which destroyed the Möhne, Eder and Sorpe Dams was launched on the night of the 16th May 1943.
IWM FILM 2342. No. 617 Squadron practice dropping the bomb at Reculver bombing range, Kent. The bomb rises from the water after its first ‘bounce’.
Official cinematographer Lieutenant Geoffrey Malins (right), with the official photographer Lieutenant Ernest Brooks, at a coffee stall behind the lines on the Somme, 1916. © IWM (Q 1456)
One of the recurrent pleasures of historical research is proving that something we assume to be up-to-the-minute in fact has a long back-story…
Avinoam Patt from the University of Hartford presenting his paper ‘ “Three lines in history”: writing about resistance in the immediate aftermath of the Holocaust.’
On the third and last day of the conference the themes ranged from visual testimonies, and repatriation and resettlement, to the legacy of the euthanasia programmes and medical experiments, and the uses of the International Tracing Service (ITS) digital collection.
‘Beyond Camps and Forced Labour: Current International Research on Survivors of Nazi Persecution’
Imperial War Museum
7 – 9 January 2015
The second day of the conference promised, and gave, a very full programme of 32 papers across nine panels. Papers touched on repatriation and resettlement, children, compensation, early testimonies, remembrance, displaced persons and forced labour.
Commentary on Day One
The opening plenary session of this conference focused on the world’s newest Jewish Museum – Polin Museum of the History of Polish Jews, Warsaw.
Barbara Kirschenblatt-Gimblett, New York University presenting (right). Chair Suzanne Bardgett (left). The slide shows Polin Museum of the History of Polish Jews, Warsaw.
During the First World War, the troops made an effort to mark Christmas, despite the obvious difficulties. Words, objects and images from Imperial War Museums’ collections and elsewhere reveal how the soldiers negotiated some space for family, sharing and festivity.
Hawker Hunters of No. 111 Squadron’s display team the Black Arrows. Photograph by Mike Chase MM FRPS, 1957. © IWM RAF-T 240.
For over forty years the Royal Air Force was in the frontline of Britain’s Cold War defences. Recording the first half of this dynamic period were a small number of specialist aviation photographers from the Air Ministry’s (later Ministry of Defence’s) Photographic Reproduction Branch (PRB) who produced a unique collection of 10,000 colour images. PRB’s chief photographer for much of this period was Mike Chase MM, one of the country’s most experienced aviation photographers.
The 1st Cameronians at a frosty dawn in the trenches, making early morning tea. 18th November 1914. Houplines Sector, France. (c) IWM Q51531
On the first Remembrance Day of the Centenary, Isaac Rosenberg’s acclaimed poem ‘Break of Day in the Trenches’ is set alongside images of troops at dawn during the First World War. A moment of quiet and reflection, before the business of the day began, for troops from the fields of France to the deserts of Egypt and Palestine.
Isaac Rosenberg, from the impoverished East-End of London and of Lithuanian-Jewish descent, had gone to war as a private soldier primarily to provide his mother with the separation allowance – a payment given to soldiers’ families due to the loss of income of them going to war. Determined to continue with his poetry, with mentors and patrons including traditionalist Edward Marsh and modernist Ezra Pound, he wrote to Laurence Binyon in Autumn 1916,
‘I am determined that this war, with all its powers for devastation, shall not master my poeting; that is, if I am lucky enough to come through all right. . .’
Rosenberg was killed on patrol in the early hours of 1 April 1918. He was featured in IWM London’s exhibition In Memoriam, that ran for a year from September 2008. Information from the exhibition and much of Rosenberg’s poetry is held in the Museum’s collections.
Research Officer at the American Air Museum (AAM), Lucy May Maxwell, candidly discusses her experience of working on the team that created the American Air Museum’s new interactive archive of images and information. The American Air Museum is located within IWM Duxford.
The new American Air Museum Website launched at the beginning of October when the AAM team opened up our online archive to the public and invited them to ‘help us make these records better’. And so far they have done just that. Each day new people are registering on the site and editing the information on there about the American airmen who served in or flew from Britain during the Second World War.
A wide range of people have contributed, including veterans themselves, the families of American servicemen who survived the war and of those who did not, volunteers at other airfield museums and people with a personal interest in the topic.
Media Page on the AAM website. You can see how people are using the new website by browsing the Media section of the archive. New uploads, designated by the prefix ‘UPL’, and any IWM images, which have the prefix ‘FRE’, that have recently been edited, will appear at the top of the unrefined listing. © IWM 2014