Hitler vs Picasso

By the end of the first week of November 1942, the German Sixth Army held about 90 per cent of Stalingrad. Yet the Soviets stubbornly held on to the remaining parts of the city, and German casualties started to reach catastrophic levels. In an attempt to break the deadlock, Hitler decided to send additional German pioneer battalions to act as an urban warfare spearhead. These combat engineers were skilled in all aspects of city fighting, especially in the use of demolitions and small arms to overcome defended positions and in the destruction of armoured vehicles. Facing them were hardened Soviet troops who had perfected the use of urban camouflage, concealed and interlocking firing positions, close quarters battle, and sniper support.

When Hitler's forces poured into France and the Low Countries in 1940, the uneasy peace of the 'Phoney War' was shattered, and Europe was ripped apart by another Blitzkrieg. Forming the backbone of the German advance were the well-equipped Schützen (Rifles), motorized infantry who embodied the essence of the fluid, swift warfare that had characterized World War II thus far. Facing them were infantrymen of the British Expeditionary Force, units of considerable fighting quality who had nevertheless received no special training to conduct combined-arms warfare in conjunction with armour.

Canadian and Waffen-SS troops of 12. SS-Panzer-Division Hitlerjugend faced one another in a series of bloody battles following the D-Day landings of June 1944. The Canadian units fought in a number of distinguished regiments, while the Hitlerjugend Division were drawn from the ranks of the Hitler Youth organizations. Veteran officers and NCOs were joined by inexperienced teenagers, and clashed with the Canadians repeatedly, notably at Authie, Bretteville and Hill 168. The struggle quickly took on an especially bitter nature, fuelled by the massacre of Canadian prisoners by Hitlerjugend personnel.

Picasso's Last Stand reveals the untold story of the last decade of the great artist's life, through the testimony of family and close friends - many of them the people he allowed into his private world in the 1960s. As his health declined in these final years, Picasso faced damaging criticism of his work and intimate revelations about his bohemian lifestyle for the first time. And yet, in the midst of disaster, he rediscovered his revolutionary spirit with a creative surge that produced some of his most sexually frank and comic work. Exhibitions of the new style horrified and disappointed contemporaries.