By Wojtek Matusiak
Pilots of the Polish Air strength observed motion from the 1st day of worldwide battle 2 until eventually the ultimate victory in Europe. Flying hopelessly superseded P.11 opponents in defence in their kingdom in September 1939, a handful of aviators inflicted critical losses at the Luftwaffe sooner than being beaten. The survivors escaped to then impartial Hungary and Romania, ahead of being ordered to France through the hot C-in-C of exiled Polish military, common Sikorski. With the invasion of Western Europe in may well 1940, the surviving pilots have been once again thrust into determined motion in newly-formed Polish devices
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Extra resources for Polish Aces of World War 2
Again Schardt compromised. He filled the lower floors with representational works by artists such as Caspar David Friedrich, Hans von Marées, and Feuerbach. The controversial paintings were put way upstairs, but in an elegant new installation in galleries beautifully painted in varying textures to match the predominant tones of each artist. Top works from other museums were brought in to fill gaps in each display. Nolde himself lent his Christ and Children from Hamburg. Schardt’s only concession was to leave out Klee and Beckmann, who were not his favorites in any case.
The National Archives with its remarkable holdings of both German and Allied documents was no less important, and there I must above all thank Jill Brett, former director of Public Affairs, for her tremendous help, which included introductions to John Taylor, Dane Hartgrove, and Michael Kurtz. I wish I could mention every person in the various research rooms. Never have I met a more helpful group of people. In other areas I would like to thank Constance Lowenthal of IFAR, who persuaded me I could give a lecture, Irene Bizot of the Réunion des Musées Nationaux, Isabelle Vernus of the Archives Nationales in Paris, Ely Maurer of the State Department, Cynthia Walsh at the Getty Center in Los Angeles, and the staff of the Archives of American Art in Washington.
44 Goering, always scrupulous about appearances, paid the Nationalgalerie RM 165,000 for its purged work, a bargain since, according to Rave, Daubigny’s Garden alone was worth more than RM 250,000. Hungry for foreign currency, other Nazi leaders also secretly cashed in on this bonanza, but their dealings were only a drop in the bucket. ” The fate of the remaining works awaited the Führer’s orders. Hitler had seen the deposits for himself in January. In June he signed a law freeing the government from all claims for compensation for the “safeguarded” works, one of the first official uses of the euphemism which was to become an international watchword in the next decade.