Peter Forster – författare

This study establishes that the political, economic and military-technological changes that transform the international system also alter the way in which a state views its and others' responsibilities and burdens for responding to international crises. It assesses the distribution of the costs of raising and supporting arms of service, the risks of deploying them overseas and using them in combat or peace operations, and the extent to which members have a responsibility for maintaining international order in the context of three instances of multinational military intervention: the Multinational Force deployment in Lebanon in 1982-83; the first Persian Gulf War in 1990-91; and the UN and NATO intervention in Bosnia-Herzegovina.

This study establishes that the political, economic and military-technological changes that transform the international system also alter the way in which a state views its and others' responsibilities and burdens for responding to international crises. It assesses the distribution of the costs of raising and supporting arms of service, the risks of deploying them overseas and using them in combat or peace operations, and the extent to which members have a responsibility for maintaining international order in the context of three instances of multinational military intervention: the Multinational Force deployment in Lebanon in 1982-83; the first Persian Gulf War in 1990-91; and the UN and NATO intervention in Bosnia-Herzegovina.

This study establishes that the political, economic and military-technological changes that transform the international system also alter the way in which a state views its and others'' responsibilities and burdens for responding to international crises. It assesses the distribution of the costs of raising and supporting arms of service, the risks of deploying them overseas and using them in combat or peace operations, and the extent to which members have a responsibility for maintaining international order in the context of three instances of multinational military intervention: the Multinational Force deployment in Lebanon in 1982-83; the first Persian Gulf War in 1990-91; and the UN and NATO intervention in Bosnia-Herzegovina.

This study establishes that the political, economic and military-technological changes that transform the international system also alter the way in which a state views its and others'' responsibilities and burdens for responding to international crises. It assesses the distribution of the costs of raising and supporting arms of service, the risks of deploying them overseas and using them in combat or peace operations, and the extent to which members have a responsibility for maintaining international order in the context of three instances of multinational military intervention: the Multinational Force deployment in Lebanon in 1982-83; the first Persian Gulf War in 1990-91; and the UN and NATO intervention in Bosnia-Herzegovina.

Es geht um die Auseinandersetzung mit der Frage, ob es genügt, dass Homosexualität nur anerkannt ist und homosexuelle Menschen gleichberechtig sind. Auch wenn Homosexuelle inzwischen die gleichen Rechte haben wie heterosexuelle Menschen, werden sie immer noch nicht gleichwertig behandelt. Ihre Identität und ihr Lebensstil wird immer noch als außergewöhnlich oder "exotisch" angesehen. Das Buch ist ein Appell, diese Ungleichbehandlung endlich aufzugeben und homosexuellen Menschen in ihrem Lebensentwurf den gleichen Wert zuzugestehen wie allen anderen Menschen . Auch, weil dies eine Frage der Menschenwürde ist.

Internationally renowned as a sculptor, here Stephan Balkenhol opens a unique window in time for us. Some of the "art family" he has created gather for a museum visit to pay tribute to the collection of Old Masters at Museum Wiesbaden. Like any important family occasion, the closest circle and the extended group – including some pet animals – meet across the generations for their visit, exchanging views on what they see. The result is an informal dialogue between contemporary art and its predecessors. The artist’s book allows us to participate in this dialogue, and includes large-format illustrations as well as an interview with Stephan Balkenhol. Balkenhol’s sculptures in dialogue with works by the Old Masters Look Inside

The dynamic correlation between the poster as an artistic and creative medium and the role played by women is examined by this publication to accompany an exhibition at Museum Wiesbaden. A selection of posters from the years 1905-1921 shows women’s diverse roles as they were portrayed publicly. Skilfully staged in design terms, they convey to society what behaviour was socially desirable, what measure of freedom was conceivable, and the boundaries that were non-negotiable. For the male poster designer, the woman is a model used in a variety of ways. But female graphic designers also designed posters professionally. Their designs show women’s growing self-confidence in leaving behind the unique artwork and small formats, and instead entering the public eye with large-format advertising media that could be reproduced in large numbers. Look inside Posters from the first heyday of German poster design (1905-1921)　 Male and female views of women’s role in society Female graphic designers: Emancipation through poster design Exhibition: Museum Wiesbaden, October 11th, 2024 to June 15th, 2025

For over four decades, Barbara Klemm's impressive black and white photographs for the Frankfurter Allgemeine Zeitung shaped the collective image of post-war German politics and culture. Her photographs – ranging from iconic moments during the fall of the Berlin Wall in 1989 to haunting portraits of political greats such as Willy Brandt – are far more than just documents of contemporary history. Her unique perspective lent an aura to historical events and people that still resonates today. This book collects together her most important photographs and so demonstrates why Barbara Klemm is regarded as one of Germany's most important contemporary photographers. It offers an outstanding visual testimony to the country's history, captured in images that will endure.Artist's book of the highly-acclaimed FAZ photographerVisual icons of contemporary German historyExhibitions: Hessischer Landtag, Wiesbaden, March 26 to April 6, 2025; Museum Wiesbaden from March 26, 2025

Georg Lührig (1868–1957) was among the artists who dominated Dresden’s art scene at the turn of the century, incorporating the trends of Art Nouveau and Symbolism into a mysterious, fascinating visual language of their own. Lührig’s oeuvre is characterised by considerable diversity of both form and content. He experimented with different materials and techniques, including charcoal, pencil, watercolour, and lithography. This richly illustrated catalogue documents the work of an artist who is ripe for rediscovery – with small studies on paper, large-format oil paintings, and monumental frescoes created as commissioned works for public buildings; also included are still lifes, landscapes, animal depictions, and portrait works.First comprehensive catalogue of Dresden-based artist Georg Lührig’s work—with newly assessed material from his estateA key contribution to research on Art Nouveau and Symbolism in DresdenPodcast (German): A conversation with Curator Peter Forster on Kunst Museum Konversation

Founded in the 9th century Museum Wiesbaden is especially committed to the art of this period. In the gallery of the 9th century the manifold artistic developments of this time and up to Art Nouveau are lined up like beads in a necklace: Portraits, genre painting, landscape depictions, animal motifs, historical painting by great names such as Max Klinger, Ludwig Knaus, Hans von Marées, Hans Markart, Moritz von Schwind, Carl Spitzweg, Hans Thoma or Heinrich Vogeler and more besides. These artists but also many others that can be discovered in this book demonstrate to us the unique creative skills of artists of this epoch.

In dialogue with the nineteenth centuryThis catalogue pays tribute to the artist Sven Drühl as a collector and theorist. For more than twenty years, he has been exhibiting his conceptual landscape paintings, neons and bronzes in institutional exhibitions. Now, for the first time, the Hans Erni Museum Lucerne and the Museum Wiesbaden are showing Drühl’s collection of nineteenth-century paintings alongside his works: from Eugen Bracht to Janus La Cour and Carl Spitzweg. Another key aspect is Drühl‘s theoretical work, in which he has made a name for himself, as a guest editor of Kunstforum International and as the author of numerous articles on art history.