Paul Smit  Mick Palarczyk | Features, Photos and TextTwo faces, one philosophy |
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![Smit & Palarczyk > [GERMANY.SACHSEN 40]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/139248202_YyNmn-Ti.jpg "Smit & Palarczyk > [GERMANY.SACHSEN 40]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.")
![Smit & Palarczyk > [GERMANY.SACHSEN 39]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/139248169_LNQYc-Ti.jpg "Smit & Palarczyk > [GERMANY.SACHSEN 39]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.")
![Smit & Palarczyk > [GERMANY.SACHSEN 38]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants inside can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/139248161_o77vX-Ti.jpg "Smit & Palarczyk > [GERMANY.SACHSEN 38]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants inside can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.")
![Smit & Palarczyk > [AUSTRIA.WIEN 04296]
'Dome of Secessions building.'
Deatail of the golden laurel leaf dome of the Secession building in Vienne. It is built in art nouveau style by J.M. Olbrich in 1898. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/138807016_fDFAy-Ti.jpg "Smit & Palarczyk > [AUSTRIA.WIEN 04296]
'Dome of Secessions building.'
Deatail of the golden laurel leaf dome of the Secession building in Vienne. It is built in art nouveau style by J.M. Olbrich in 1898. Photo Paul Smit.")
![Smit & Palarczyk > [SLOVAKIA.WEST 03560]
'Art nouveau St. Elisabeth church in Bratislava.'
The tower of the St. Elisabeth church in Bratislava, nicknamed the "blue church", shows an original interpretation of art nouvau. It was built 1909 - 1913. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/138806294_TdaUc-Ti.jpg "Smit & Palarczyk > [SLOVAKIA.WEST 03560]
'Art nouveau St. Elisabeth church in Bratislava.'
The tower of the St. Elisabeth church in Bratislava, nicknamed the \"blue church\", shows an original interpretation of art nouvau. It was built 1909 - 1913. Photo Paul Smit.")
![Smit & Palarczyk > [SLOVAKIA.WEST 03555]
'Art nouveau St. Elisabeth church in Bratislava.'
The tower of the St. Elisabeth church in Bratislava, nicknamed the "blue church", shows an original interpretation of art nouvau. It was built 1909 - 1913. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/138806261_q8HNF-Ti.jpg "Smit & Palarczyk > [SLOVAKIA.WEST 03555]
'Art nouveau St. Elisabeth church in Bratislava.'
The tower of the St. Elisabeth church in Bratislava, nicknamed the \"blue church\", shows an original interpretation of art nouvau. It was built 1909 - 1913. Photo Paul Smit.")
![Smit & Palarczyk > [SLOVAKIA.WEST 03555]
'Art nouveau St. Elisabeth church in Bratislava.'
The tower of the St. Elisabeth church in Bratislava, nicknamed the "blue church", shows an original interpretation of art nouvau. It was built 1909 - 1913. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/138806215_nKnk6-Ti.jpg "Smit & Palarczyk > [SLOVAKIA.WEST 03555]
'Art nouveau St. Elisabeth church in Bratislava.'
The tower of the St. Elisabeth church in Bratislava, nicknamed the \"blue church\", shows an original interpretation of art nouvau. It was built 1909 - 1913. Photo Paul Smit.")
![Smit & Palarczyk > [AUSTRIA.NIEDER 03681]
'Egon Schiele Museum, Tulln.'
The entrance gate of the Egon Schiele Museum in Tulln, a town along the Danube west of Vienna. Schiele was born in Tulln. The exposition shows work of his younger years. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/50101134_sAe25-Ti.jpg "Smit & Palarczyk > [AUSTRIA.NIEDER 03681]
'Egon Schiele Museum, Tulln.'
The entrance gate of the Egon Schiele Museum in Tulln, a town along the Danube west of Vienna. Schiele was born in Tulln. The exposition shows work of his younger years. Photo Paul Smit.")
![Smit & Palarczyk > [AUSTRIA.WIEN 04288]
'Art Nouveau in Vienna.'
Interior painter at work in a house at Linke Wienzeile 38, designed by Art Nouveau architect Otto Wagner in 1899. The gold plated decoration is done by Kolo Moser. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/50100837_vq4VF-Ti.jpg "Smit & Palarczyk > [AUSTRIA.WIEN 04288]
'Art Nouveau in Vienna.'
Interior painter at work in a house at Linke Wienzeile 38, designed by Art Nouveau architect Otto Wagner in 1899. The gold plated decoration is done by Kolo Moser. Photo Paul Smit.")
[GERMANY.SACHSEN 40]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.
![Smit & Palarczyk > [GERMANY.SACHSEN 40]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.](http://paulsmit.smugmug.com/photos/139248202_YyNmn-S.jpg "Smit & Palarczyk > [GERMANY.SACHSEN 40]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.")
[GERMANY.SACHSEN 40]
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.
'Völkerschlachtdenkmal near Leipzig.'
Everything looks heavy, the atmosphere is dark and the interior seems to be imported straight from the computer game Doom: the Völkerschlachtdenkmal. It seems as if the granite giants can wake up from their slumber any moment and crush you under their weight. It was built in 1913 as a monument for peace and commemorates the tens of thousands of deceased soldiers that fell one hundred years earlier in an enormous battle against Napoleon.
In reality nothing refers to peace, and everything to megalomanic, brainless Teutonhood. Maybe not so strange, being constructed only one year before the First World War. It shows clearly with which philosophy the country would thrust itself into war. Its Wagnerian, mythical Germanian kitsch makes clear that Germany was in fact ready for Nazism in 1913, ten years before its actual conception. Photo Paul Smit.
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