Thus began the biggest evacuation of art and antiques in history. A small army of workers swiftly emptied the Louvre's cavernous galleries of all but the most cumbersome and fragile pieces and tucked away the displaced treasures in the châteaux of the Loire countryside. As the Germans neared Paris in 1940, the French raced to move the masterpieces still further south, then again and again during the war, crisscrossing the southwest of France. Throughout the German occupation, the Louvre's staff fought to keep the priceless treasures out of the hands of Hitler and his henchmen and to keep the Louvre palace safe, many of them risking their jobs and their lives to protect the country's artistic heritage. Saving Mona Lisa is the sweeping, suspenseful narrative of their battle. Superbly researched and accompanied by riveting photographs of the period, it is a compelling story of art and beauty, intrigue and ingenuity, and remarkable moral courage in the face of one of the most fearful enemies in history.

    

    At my home, the mailman would walk up towards the front porch, and I saw it just as clear as if he's standing beside me—I see his blue jacket and the blue cap and the leather mailbag. Here he goes up to the house, but he doesn’t turn. He goes right up the front steps. This happened so fast, probably a matter of seconds, but the first thing that came to mind, that's the way my folks would find out what happened to me. The next thing I know, I kind of come to, and I'm in the push-up mode. I'm half up out of the underwater depression, and I'm trying to figure out what the hell happened to those prone figures on the beach, and all of a sudden, I realized I'm in amongst those bodies!” —Army demolition engineer, Omaha Beach, D-Day Dying for freedom isn’t the worst that could happen. Being forgotten is. — “My last mission was the Bastogne mission. We were being towed, we're approaching Bastogne, and I see a cloud of flak, anti-aircraft fire. I said to myself, ‘I'm not going to make it.’ There were a couple of groups ahead of us, so now the anti-aircraft batteries are zeroing in. Every time a new group came over, they kept zeroing in. My outfit had, I think, 95% casualties.” —Glider pilot, D-Day and beyond Maybe our veterans did not volunteer to tell us their stories; perhaps we were too busy with our own lives to ask. But they opened up to a younger generation, when a history teacher taught his students to engage. — “I was fighting in the hedgerows for five days; it was murder. But psychologically, we were the best troops in the world. There was nobody like us; I had all the training that they could give us, but nothing prepares you for some things. You know, in my platoon, the assistant platoon leader got shot right through the head, right through the helmet, dead, right there in front of me. That affects you, doesn’t it?” ” —Paratrooper, D-Day and beyond As we forge ahead as a nation, do we owe it to ourselves to become reacquainted with a generation that is fast leaving us, who asked for nothing but gave everything, to attune ourselves as Americans to a broader appreciation of what we stand for? This is the fifth book in the masterful WWII oral history series, but you can read them in any order. — “Somebody asked me once, what was the hardest part for you in the war? And I thought about a young boy who came in as a replacement; the first thing he said was, ‘How long will it be before I'm a veteran?’ I said, ‘If I'm talking to you the day after you're in combat, you're a veteran.’ He replaced one of the gunners who had been killed on the back of the half-track. Now, all of a sudden, the Germans were pouring this fire in on us. He was working on the track and when he jumped off, he went down, called my name. I ran over to him and he was bleeding in the mouth… From my experience before, all I could do was hold that kid’s hand and tell him it’s going to be all right. ‘You'll be all right.

    Aalto turned to ideas based on Functionalism, subsequently moving toward more organic structures, with brick and wood replacing plaster and steel. He also designed buildings, furniture, lamps, and glass objects. Contains approximately 120 images, including photographs, sketches, drawings, and floor plans Introductory essays explore the architect's life and work, touching on family and background as well as collaborations with other architects The body presents the most important works in chronological order, with descriptions of client and/or architect wishes, construction problems and resolutions The appendix includes a list of complete or selected works, biography, bibliography and a map indicating the locations of the architect's most famous buildings

    Lara shares her experience of fashion photography in the digital age, including dedicated sections on retouching, genres of fashion photography, and making the best use of social media. Whether you're taking your first-ever shot, working with a professional model for the first time, or pitching to new clients, here is everything you need to produce moody, magical images that leap from the page straight into the viewer's imagination.

    Or sunflowers. (Though it does wax lyrical about some stunning Alpine scenery . . . and, with the race starting in Yorkshire, even some stunning scenery not far from Bradford).From Leeds to Paris (how often do you say that?), Ned details the minutiae of his encounters with the likes of Vincenzo Nibali, David Millar, Chris Froome, Chris Boardman (or ‘Broadman’ as some would have it), Marcel Kittel, Mrs Cavendish (Mark’s wife), Peter Sagan and the rest. Their endeavours, achievements, humour and occasional rancour, sit alongside his own decade-long quest for the ideal end-of-race T-shirt.Ned weaves together the interesting, amusing and unheralded threads of the race itself, and reflects on his own perennial struggle to get round, get on and get by. 101 Damnations encapsulates all that is incredible – and incredibly ordinary – about the greatest race on earth.