beer hall putch dedication from mein kampf

On April 1st, 1924, I began to serve my sentence of detention in the
Fortress of Landsberg am Lech, following the verdict of the Munich
People's Court of that time.

After years of uninterrupted labour it was now possible for the first
time to begin a work which many had asked for and which I myself felt
would be profitable for the Movement. So I decided to devote two volumes
to a description not only of the aims of our Movement but also of its
development. There is more to be learned from this than from any purely
doctrinaire treatise.

This has also given me the opportunity of describing my own development
in so far as such a description is necessary to the understanding of the
first as well as the second volume and to destroy the legendary
fabrications which the Jewish Press have circulated about me.

In this work I turn not to strangers but to those followers of the
Movement whose hearts belong to it and who wish to study it more
profoundly. I know that fewer people are won over by the written word
than by the spoken word and that every great movement on this earth owes
its growth to great speakers and not to great writers.

Nevertheless, in order to produce more equality and uniformity in the
defence of any doctrine, its fundamental principles must be committed to
writing. May these two volumes therefore serve as the building stones
which I contribute to the joint work.

The Fortress, Landsberg am Lech.



At half-past twelve in the afternoon of November 9th, 1923, those whose
names are given below fell in front of the FELDHERRNHALLE and in the
forecourt of the former War Ministry in Munich for their loyal faith in
the resurrection of their people:

Alfarth, Felix, Merchant, born July 5th, 1901
Bauriedl, Andreas, Hatmaker, born May 4th, 1879
Casella, Theodor, Bank Official, born August 8th, 1900
Ehrlich, Wilhelm, Bank Official, born August 19th, 1894
Faust, Martin, Bank Official, born January 27th, 1901
Hechenberger, Anton, Locksmith, born September 28th, 1902
Koerner, Oskar, Merchant, born January 4th, 1875
Kuhn, Karl, Head Waiter, born July 25th, 1897
Laforce, Karl, Student of Engineering, born October 28th, 1904
Neubauer, Kurt, Waiter, born March 27th, 1899
Pape, Claus von, Merchant, born August 16th, 1904
Pfordten, Theodor von der, Councillor to the Superior Provincial Court,
born May 14th, 1873
Rickmers, Johann, retired Cavalry Captain, born May 7th, 1881
Scheubner-Richter, Max Erwin von, Dr. of Engineering, born January 9th,
1884
Stransky, Lorenz Ritter von, Engineer, born March 14th, 1899
Wolf, Wilhelm, Merchant, born October 19th, 1898

So-called national officials refused to allow the dead heroes a common
burial. So I dedicate the first volume of this work to them as a common
memorial, that the memory of those martyrs may be a permanent source of
light for the followers of our Movement.

The Fortress, Landsberg a/L.,

October 16th, 1924

interwar period

weimar republic

weimarism

weimarism

modern art copied from wikipedia

Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophy of the art produced during that era.^[1] The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation.^[2] Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art.

Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubists Georges Braque, André Derain, Raoul Dufy, Jean Metzinger and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's two versions of The Dance signified a key point in his career and in the development of modern painting.^[3] It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.