Download Austro Hungarian Aces of World War I by Chris Chant, Mark Rolfe PDF

By Chris Chant, Mark Rolfe

Beginning the battle with merely 35 airplane, Austro-Hungarian went directly to produce purely reasonable numbers of terrible caliber airplane. The fliers of the Austro-Hungarian Empire working at the Serbian and Russian fronts have been lucky initially, discovering themselves confronted via small numbers of plane but extra obsolescent than their very own. Serbia fell in 1915, but if Italy declared warfare the Austro-Hungarians have been nonetheless confronted with a two-front conflict – a static entrance opposed to Italy, and a much more fluid one opposed to Russia. Austro-Hungarian fighter pilots played bravely and sometimes very successfully less than super tough geographic, climatic and operational stipulations.

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With every season Diaghilev became more daring. The eroticism became more overt. It was there from the start, in Cléopâtre in the 1909 season — the tale about a queen who seeks a lover willing to die at dawn after a night of love — with its wild bacchanal scene of quickening tempi, great leaps of the Ethiopians, tossing flesh, and waves of silk and gold. But it became bolder. That caused the excite­ ment to turn in some quarters to disquietude. The scandale of the 1 9 1 2 season was the première in Paris on May 29 of Debussy’s L'Après-midi d'un faune, inspired by Mallarmé’s poem, choreographed and danced by Nijinsky, with art nouveau sets and costumes by Bakst.

Lights projected onto the façade emphasized the building’s whiteness, its simplicity, and high­ lighted the reliefs of Bourdelle’s frieze, Apollo and the Muses. Astruc observed the first-night audience arriving to hear the inaugural con­ cert devoted to Berlioz’s Benvenuto Cellini and Weber’s Der Frei­ schütz. On entering the hall, people seemed first to be blinded. Then they looked. Some became excited. Others sniggered. The majority, before voicing an opinion, waited to hear that of their neighbor.

Today the world’s greatest artists perform there. ” 1 Constructed between 1 9 1 1 and 19 13 , it belongs to the first generation of buildings to be erected with reinforced concrete. But in PARIS • 17 addition to the use of new materials, steel and concrete in place of brick or stone, a major concern of Perret was to incorporate and project in his work what he regarded as a new honesty and simplicity of style. Together with his contemporary Tony Gamier, he reacted against the prevailing heavy composite styles from the past or the current mannered mode of art nouveau, with its ornamentation and pretense.

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