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Napoleon's Army in Russia: The Illustrated Memoirs of Albrecht Adam, 1812 (Englisch) Gebundene Ausgabe – 30. März 2005

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  • Gebundene Ausgabe: 176 Seiten
  • Verlag: Pen & Sword Books Ltd (30. März 2005)
  • Sprache: Englisch
  • ISBN-10: 1844151611
  • ISBN-13: 978-1844151615
  • Größe und/oder Gewicht: 22,2 x 28,3 x 2,3 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 290.889 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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3 von 3 Kunden fanden die folgende Rezension hilfreich Von "napstein" am 27. April 2005
Format: Gebundene Ausgabe
Nach der sehr schönen Neuauflage des bekannteren Tafelwerkes von Faber du Faur ("With Napoleon in Russia - The illustrated memoirs of Major Faber du Faur", erschienen 2001) hat Jonathan North jetzt ein sehr schönes Pendant aufgelegt, nämlich die Tafeln aus der Feder des bayerischen Malers Albrecht Adam. Dieser begleitete im Stabe (Topographische Abteilung) von Eugène de Beauharnais, dem Kommandeur des IV. Armeekorps, dessen Zug nach Moskau im Jahre 1812. Mit Erreichen Moskaus im September 1812 entschloß sich Albrecht Adam, nach München zurück zu reisen und verließ die Truppen vor deren Rückzug aus Rußland.
Schon in seinen jungen Jahren interessierte sich Albrecht Adam für das damals vielerorts präsente Militär. Ein im Jahre 1985 erschienenes Buch mit insgesamt 49 Tafeln des vierzehnjährigen (!) Adams über die französische Armée de Reserve 1800 unterstreicht sein zeichnerisches Talent wie auch den Blick für Details. Während seines Zuges nach Moskau fertigte Adam zahlreiche Skizzen an, die er schließlich in den Jahren 1827/1828 unter dem Titel "Voyage pittoresque et militaire" in Tafelform veröffentlichte. Diese 73 Farbtafeln bestechen durch einen ausgesprochen hohen Detailierungsgrad - der Topographie, der Gebäude sowie der Uniformen - sowie durch ihre erschreckende Offenheit. Adam beschönigte nichts an diesem, ihn schon früh abstoßenden Kriegszug, und zeigt das Chaos, den Schrecken, aber auch die Apathie, die schon auf dem Zug nach Moskau unter den Truppen vorherrschten.
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History Recorded in Painting 23. September 2008
Von W. B. Smith - Veröffentlicht auf
Format: Gebundene Ausgabe Verifizierter Kauf
This is a delightful book and historic record of Napoleon's 1812 campaign in Russia. The introduction provides a brief summary of that campaign and then shows the 72 plates of Albrecht Adam's paintings along with his written memoir notes that help describe each painted scene. Adam accompanied the IV Corps that was mainly comprised of Italians & his illustrated memoirs are of historic significance as a valued visual record of Napoleon's campaign in Russia. The coloured plates are a delight to the eye & one should examine closely as there is some detail to be explored. What comes across from Adam's memoirs are the seemingless endless forced marches, cold nights, hot days, lack of food & sleep. The endurance of man is shown at its best & worst by sacrifice & self preservation as observed by Adam. The authors illustrations unfortunately end at the gates of Moscow. Tired, disillusioned, dramatised by real life events that had unfolded before him & perhaps sensing the disaster ahead, Adam left the army on 24 September 1812 & headed home. The remainder of the book makes an interesting if brief read of his journey home, his encounters with other travellers, Russians, the wounded & dying. This is a must have for those wishing to gain a glimpse of that tragic 1812 campaign along with its horrors.
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A gem 1. Juli 2011
Von Avon Napoleonic Fellowship - Veröffentlicht auf
Format: Gebundene Ausgabe
This book is a gem on so many levels. The book itself, half-way between a coffee-table item and a standard hardback, is beautifully presented on high quality paper stock, the text is in a clear, pleasing font and the prints themselves are clearly reproduced. Each of Albrecht Adam's paintings is printed on a separate page with the artist's description on the page adjacent. The prints are introduced by Jonathan North's description of the 1812 campaign and are concluded with Albrecht Adam's memoir of his harrowing return journey from Moscow to Munich between September and December 1812.
Jonathan North's seventeen-page introduction covers the events leading up to the 1812 campaign, the privations of the march on Moscow, the unsuccessful attempts by Napoleon to trap the Russian armies, the Battle of Borodino and, of course, the terrible retreat. His description is interspersed with numerous quotes from the memoirs of eyewitnesses. Lithographs of Prince Eugene, Napoleon and Murat by G. Englemann decorate the text. This section of itself is a worthy account of the Russian campaign, but it is Albrecht Adam's eyewitness paintings that make this book so special.
As North explains in his prologue, these paintings were completed between 1827 and 1828 from the sketches that Adam had made while on campaign as a member of Eugene's topographical bureau. The paintings are presented in 72 full colour plates, each one accompanied by Adam's vivid description of the scene. These descriptions capture the hardship, the very real human experience, the weeks of marching and relative inaction interspersed with bloody battles. The vastness and colours of Poland, Lithuania, the Ukraine and White Russia and the tragedy and waste that is war are shown graphically.
Although he had been present in the 1809 Austrian campaign, Adam was clearly a sensitive man who was confronted by much that he witnessed. There is a personal aspect to all of the paintings and accompanying text, but it is particularly powerful in those depicting and describing sad or tragic events. For example, plate 8 shows the bloated corpses of nine horses; "because of the lack of forage the horses were being fed on green corn, trampled down by the rain. The poor creatures ate their fill but, shortly afterwards, collapsed dead. I have tried to capture this morbid scene in the plate opposite."
As would be expected given the topic, examples of the human suffering abound. Two from the Battle of Smolensk are presented in consecutive plates. Plate 40, which is a touching scene of an infantry grenadier and hussar (or aide) carrying a wounded officer on the soldier's musket and plate 41 which depicts the grim scene of the burnt out and destroyed town. The description of the latter reads, in part, "the Emperor's expression altered significantly when his eyes alighted on the smoking ashes... Such destruction astonished him. And what a victory for our troops. Instead of finding shelter, food and booty there was nothing but rubble on which to pitch our tents."
Such scenes of the suffering and tragedy of war are interspersed with those depicting the human spirit. Plate 48 "On the road to Viazma" shows Prince Eugene, accompanied by his staff and a regiment of Bavarian chevau-légers. Eugene is speaking with a young woman who is mounted on a horse, laden with necessities of life and holding her baby on her lap. "The sight perhaps affected the Prince's paternal instincts... he sought details of the child and the condition of the mother. He learnt that the baby had been born on the road... He presented some gold coins to the woman, bade her farewell in an affable manner and modesty obliged him to turn a deaf ear to the praise which his action had given rise to."
The camp scenes are particularly interesting and strongly portray a human element. Most of the scenes depicting troops naturally show entire units of the same type and formation, but the camp scenes present interesting exceptions. Several of them portray individuals from a mixture of units and present the us viewing them nearly 200 years later with a strong sense of the camaraderie of these men who were involved in such momentous events.
Amongst the 72 plates are numerous battle scenes from Ostrovno-Vitepsk (ten plates) Smolensk (two plates), and Moskva-Borodino (eight plates). Most of these paintings present a wide view of the battlefield, showing terrain, dispositions, formations and the smoke and confusion of battle. Such presentations are a boon to anyone designing wargames scenarios.
The depictions of troops from various French, Italian and Bavarian units are invaluable. The troops are not shown in full dress uniforms ready for inspection on a parade ground, but in a mixture of uniform items used on campaign. Some uniform colours are wrong and certainly not as you are used to seeing them in a uniform guide. This principally relates to details such as the colour of epaulettes, trousers and shabraques (for example shown in red for cuirassiers). Despite these inaccuracies, they are of great value if you are painting wargames figures or other models.
The book is a fantastic source for any student of military history, particularly anyone interested in the Napoleonic period. It is especially of interest to wargamers with its eyewitness studies of terrain, armies and command. As the examples that I have presented illustrate, the text is genuine and touching and provides the sort of insight that can only come from someone who was an eyewitness. It is a tribute to Jonathan North's translation that this is conveyed so strongly.
This is not the sort of book that you will read from cover to cover, but rather one that you will dip into at different times, opening at a random page, leafing through the pages or re-visiting a particular plate. Each `exploration' rewards with a new insight, a new detail, a delightful aside of war or a harsh and often horrible reality.
Highly recommended.
1 von 1 Kunden fanden die folgende Rezension hilfreich
More Historical Fodder for the 1812 Russian Invasion Bicentennial 21. Juli 2012
Von Lee B Croft - Veröffentlicht auf
Format: Gebundene Ausgabe Verifizierter Kauf
As I write this on July 20, 2012, 200 years after Napoleon Bonaparte's Grande Armee's disastrous invasion of Russia, I am thinking about scholar, editor, and translator Jonathan North's wonderful presentations of French campaign participants' illustrations and commentary. The first of these is a treatise on the work of Christian Wilhelm von Faber du Faur (1780-1857) entitled "With Napoleon in Russia: The Illustrated Memoirs of Major Faber du Faur, 1812." It is a real gem and I tried in my review of it here on Amazon only to add some additional thoughts about further horrors of the campaign that Faber du Faur's art did not, or could not, capture for us. But here is North's other presentation of illustrations of Napoleon's Russian campaign--Napoleon's Army in Russia: The Illustrated Memoirs of Albrecht Adam-1812." Albrecht Adam's (1786-1862) work is no less artful and impactful than Faber du Faur's, except that it depicts only the first, entry, phase of the campaign, since Adam left occupied Moscow to return home before the catastrophic retreat of the army as a whole. And North's preface and introduction are equally as concise, accurate and superbly written as in his previous work. I notice that both these works enter into the consideration of author Scott Armstrong's (cf. his fine book, available on Amazon, RUSSIAN SNOWS: Coming of Age in Napoleon's Army) wonderfully informative blog at [...]. Their historical impact is clearly to be seen in the various comments on this blog. My own contribution of a comment there introduced to the readership a little-known episode in the history of the campaign--Tsar Alexander's secret project to construct a hydrogen-filled, rotor-wing-powered, aerostat (balloon) from which to drop timed-fuse explosives on Napoleon and his army. This project, entrusted to the administration of Moscow Governor-General Fyodor Rostopchin, and through Rostopchin to German physician George Anton Schaeffer, was designed by a mysterious German-speaking "balloon master" named Franz Leppich (1776-1818), who had actually tried previously, in 18ll, to sell the project to Napoleon. The killer balloon, which was shaped to resemble a shark, failed to ascend on the day of the Battle of Borodino (August 26 on the Russian Calendar, September 7 on the French, 1812) and was evacuated to Nizhnii Novgorod to the east on the Volga using over 130 confiscated Moscow city fire carts and horse teams, thus severely handicapping attempts subsequently to manage the destructive Moscow fire. This project is mentioned by Leo Tolstoy in WAR AND PEACE, but only the most assiduous of historians have included it in their relations since. When, in summer of 2002, I asked the docents of Moscow's Museum of the History of the City for help in finding the Vorontsovo estate where the balloon was constructed, they told me that they had never heard of such a project. Since then mention of it has been added to the signage at the entrance to (and the online site of) Vorontsovo city park in Moscow. Yet still the "secret balloon project to kill Napoleon" is not well known. Hopefully, my own book, the first of a trilogy on GEORGE ANTON SCHAEFFER, subtitled "Killing Napoleon From the Air" (also, of course, available from Amazon and crying for purchase and review) will correct this relative lacuna in the campaign's history. Among editor North's listed sources, the memoirs of campaign participant Major and Count Phillipe de Segur do mention the project and even provide a seminal (but not entirely accurate) sketch, but North's illustrators were apparently, as most were, oblivious to it. In sum, a better visual treatment of Napoleon's historic campaign into Russia than North's presentation of the works of Faber du Faur and of Albrecht Adam can't be found in text. Both are highly recommended, especially as we celebrate the bicentennial of the campaign. What lessons about war do they teach? Can we learn enough?
Excellently Illustrated book on the Russian Campaign 21. April 2015
Von danny boy - Veröffentlicht auf
Format: Gebundene Ausgabe Verifizierter Kauf
This is a superbly illustrated book featuring the paintings of Albrecht Adams as he accompanied Napoleon's Army into Russia in 1912. The book is printed in landscape format. The text is very good.
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