"The objective of this study is to determine if the German "blitzkrieg" and Fall Gelb of 1940 were an expression of operational art. Despite the mythology surrounding Fall Gelb, the campaign does not constitute a major breakthrough in operational art by the Germans. Fall Gelb was not an expression of operational art. This conclusion is based upon an analysis using the approaches posed by U.S. Army and joint doctrine, Dr. James Schneider and Dr. Shimon Naveh. The purpose of this study is to examine more closely what is meant by "operational art" and to use those contemporary insights to reexamine German military operations in France in May 1940, Fall Gelb. Fall Gelb was chosen because it is a campaign that is frequently studied and often used and abused to illustrate various points relating to military operations. The study of the Fall Gelb campaign offers a glimpse of past operations through the lens of contemporary thought. That study provides the contemporary military professional an opportunity to improve his understanding of operational art through the study of a historical campaign. Fall Gelb must be analyzed using criteria derived from a modern understanding of operational art to objectively assess the significance of Fall Gelb. There are three distinctive approaches to operational art. One way to approach the problem is to use contemporary doctrine as a yardstick. Contemporary doctrine approaches the issue by using simple definitions and lists to describe the essential elements of operational art. Another approach is that taken by Dr. James Schneider from the U.S. Army School of Advanced Military Studies. Schneider's approach seeks to describe the phenomena associated with the practice of Operation Art. Schneider breaks down operational art into key attributes necessary for the practice of Operational Art. A third approach to the issue is that used by Dr. Shimon Naveh, an Israeli military theorist."--Abstract

The objective of this study is to determine if the German “blitzkrieg” and Fall Gelb of 1940 were an expression of operational art. Despite the mythology surrounding Fall Gelb, the campaign does not constitute a major breakthrough in operational art by the Germans. Fall Gelb was not an expression of operational art. This conclusion is based upon an analysis using the approaches posed by U.S. Army and joint doctrine, Dr. James Schneider and Dr. Shimon Naveh. The purpose of this study is to examine more closely what is meant by “operational art” and to use those contemporary insights to re-examine German military operations in France in May 1940, Fall Gelb. Fall Gelb was chosen because it is a campaign that is frequently studied and often used and abused to illustrate various points relating to military operations. The study of the Fall Gelb campaign offers a glimpse of past operations through the lens of contemporary thought. That study provides the contemporary military professional an opportunity to improve his understanding of operational art through the study of a historical campaign.

A riveting account of the origins and development of the German army that breaks through the distortions of conventional military history Acclaimed for his revisionist history of the German Army in World War I, John Mosier continues his pioneering work in Cross of Iron, offering an intimate portrait of the twentieth-century German army from its inception, through World War I and the interwar years, to World War II and its climax in 1945. World War I has inspired a vast mythology of bravery and carnage, told largely by the victors, that has fascinated readers for decades. Many have come to believe that the fast ascendancy of the Allied army, matched by the failure of a German army shackled by its rigidity, led to the war's outcome. Mosier demystifies the strategic and tactical realities to explain that it was Germany's military culture that provided it with the advantage in the first war. Likewise, Cross of Iron offers stunning revelations regarding the weapons of World War II, forcing a reevaluation of the reasons behind the French withdrawal, the Russian contribution, and Hitler as military thinker. Mosier lays to rest the notion that the army, as opposed to the SS, fought a clean and traditional war. Finally, he demonstrates how the German war machine succeeded against more powerful Allied armies until, in both wars, it was crushed by U.S. intervention. The result of thirty years of primary research, Cross of Iron is a powerful and authoritative reinterpretation of Germany at war.

Here, for the first time in English, is an illuminating new German perspective on the decisive Blitzkrieg campaign of 1940. Karl-Heinz Frieser's account provides the definitive explanation for Germany's startling success and the equally surprising and rapid military collapse of France and Britain on the European continent. In a little over a month, Germany decisively defeated the Allies in battle, a task that had not been achieved in four years of brutal fighting during World War I. First published in 1995 as the official German history of the 1940 campaign in the west, the book goes beyond standard explanations to show that German victory was not inevitable and French defeat was not preordained. Contrary to the usual accounts of the campaign, Frieser illustrates that the military systems of both Germany and France were solid and that their campaign planning was sound. The key to victory or defeat, he argues, was the execution of operational plans—both preplanned and ad hoc—amid the eternal Clausewitzian combat factors of friction and the fog of war. Frieser shows why on the eve of the campaign the British and French leaders had good cause to be confident and why many German generals were understandably concerned that disaster was looming for them. This study explodes many of the myths concerning German Blitzkrieg warfare and the planning for the 1940 campaign. A groundbreaking new interpretation of a topic that has long interested students of military history, it is being published in cooperation with the Association of the U.S. Army

A highly illustrated account of the daring German assault by Heersgruppe A through Holland and Belgium in May 1940. The great blitzkrieg campaign of May/June 1940 saw German forces pour through Holland and Belgium to confront the French and British. The assault was audacious; it relied on speed, feinting and manoeuvre as much as superior force, and in the end these qualities were to prove decisive to German success. Featuring vivid illustrations, illuminative bird's eye views and maps, this book charts the unfolding of an unprecedented 'lightning war', which saw the first ever airborne assault at a strategic level, and the largest clash of armour to date. Never in the history of warfare had the clash between such large, powerful, and apparently equal forces been decided so swiftly and conclusively.

Broadly defined as the grey area between strategy and tactics, operational art spans the theory and practice of planning and conducting campaigns and major operations aimed at accomplishing strategic and operational objectives in a given theatre of operations. An intermediate link between strategy and tactics has always existed, but a distinct concept that encompasses a systematic and deliberate plan of campaign for major operations is a mere two hundred years old. Based on country specific case-studies, this book describes how the concepts that underpin operational art originated, how they received practical expression in various campaigns, and how they developed over time. The point of departure is the campaigns of 'the God of War', Napoleon Bonaparte. The book then proceeds with chapters on the evolution of operational art in Prussia / Germany, the Soviet Union / Russia, the United Kingdom, United States, Israel, and China. The final chapter deals with the future of operational art in irregular warfare. Theory is critical to refining and improving existing methods of applying operational warfare, and its importance cannot be overstated; however, to be useful, theory and its accompanying vocabulary must be combined with a proper examination of historical trends and practical experience. The present volume attempts to achieve that combination. This book is a project of the Oxford Leverhulme Programme on the Changing Character of War.