The Operational Art

On Operations: Operational Art and Military Disciplines traces the history of the development of military staffs and ideas on the operational level of war and operational art from the Napoleonic Wars to today, viewing them through the lens of Prussia/Germany, the Soviet Union, and the United States. B. A. Friedman concludes that the operational level of war should be rejected as fundamentally flawed, but that operational art is an accurate description of the activities of the military staff, an organization developed to provide the brainpower necessary to manage the complexity of modern military operations. Rather than simply serve as an intercession between levels, the military staff exists as an enabler and supporting organization to tacticians and strategists alike. On Operations examines the organization of military staffs, which has changed little since Napoleon’s time. Historical examinations of the functions staffs provided to commanders, and the disciplines of the staff officers themselves, leads to conclusions about how best to organize staffs in the future. Friedman demonstrates these ideas through case studies of historical campaigns based on the military discipline system developed.

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.

NOTE: NO FURTHER DISCOUNT FOR THIS PRINT PRODUCT--OVERSTOCK SALE -- Significantly reduced list price while supplies last Historical Perspectives of the Operational Art, a companion volume to Clayton R. Newell's and Michael D. Krause's On Operational Art, captures the doctrinal debate over the evolving concept of operational art-the critical link between strategy and tactics-in the face of the new complexities of warfare and the demands of irregular operations in the twenty-first century. Consisting of fifteen original essays selected and edited by Michael D. Krause in collaboration with R. Cody Phillips, the well-organized anthology presents the collective view of distinguished military historians and scholars that operational art must be adjusted to accommodate the changing circumstances happening around the world, especially when dealing with broad coalitions and alliances in regional environments and at an international level. Related products: The Rise of iWar: Identity, Information, and the Individualization of Modern Warfare can be found here: https://bookstore.gpo.gov/products/sku/008-000-01198-2 Yemen: A Different Political Paradigm in Context can be found here: https://bookstore.gpo.gov/products/sku/008-070-00865-3 A Masterpiece of Counterguerrilla Warfare: BG J. Franklin Bell in the Philippines 1901-1902 is avaialble here: https://bookstore.gpo.gov/products/sku/008-000-01000-5 Operational Culture for the Warfighter: Principles and Applications is available here: https://bookstore.gpo.gov/products/sku/008-000-01061-7

David Glantz examines the Soviet study of war, the re-emergence of the operation level and its connection with deep battle, the evolution of the Soviet theory of operations in depth before 1941, and its refinement and application in the European theatre and the Far East between 1941 and 1945.

Military commanders turn tactics into strategic victory by means of "operational art," the knowledge and creative imagination commanders and staff employ in designing, synchronizing, and conducting battles and major operations to achieve strategic goals. Until now, historians of military theory have generally agreed that modern operational art developed between the first and second world wars, not in the United States but in Germany and the Soviet Union, whose armies were supposedly the innovators and greatest practitioners of operational art. Some have even claimed that U.S. forces struggled in World War II because their commanders had no systematic understanding of operational art. Michael R. Matheny believes previous studies have not appreciated the evolution of U.S. military thinking at the operational level. Although they may rightly point to the U.S. Army's failure to modernize or develop a sophisticated combined arms doctrine during the interwar years, they focus too much on technology or tactical doctrine. In his revealing account, Matheny shows that it was at the operational level, particularly in mounting joint and combined operations, that senior American commanders excelled—and laid a foundation for their country's victory in World War II. Matheny draws on archival materials from military educational institutions, planning documents, and operational records of World War II campaigns. Examining in detail the development of American operational art as land, sea, and air power matured in the twentieth century, he shows that, contrary to conventional wisdom, U.S. war colleges educated and trained commanders during the interwar years specifically for the operational art they employed in World War II. After 1945, in the face of nuclear warfare, the American military largely abandoned operational art. But since the Vietnam War, U.S. commanders have found operational art increasingly important as they pursue modern global and expeditionary warfare requiring coordination among multiple service branches and the forces of allied countries.

This collection of texts has been taken from formerly classified material in the official Red Army General Staff journal 'Military Thought'. The results are two volumes of great scope based on archival evidence. They stand as a compulsory reference point for anyone with an interest in the operational endeavours of the Soviet Army from the 1920's onward.