Third Reich NS Books
You can order our books from here:
Excerpts from Our Item #637-07
German War Art Picture Book Series
ORDER THIS BOOK FROM HERE
Wouldn’t it be great to purge our society of all the degenerate modern art that is relentlessly shoved down our throats? It is poorly executed, does not require any talent, degrades the human spirit, is thoroughly jewish, and makes sane people feel physically sick.
Well, the National Socialists, led by a talented painter named Adolf Hitler, saw this “art” as a threat to the well-being of the German folk and decided to do something about it. They called it Entartete Kunst, which is German for Degenerate Art, and quarantined pieces they they deemed to be subversive, putting them on display for the folk to see in its proper context.
The German people lined up by the thousands to view the Degenerate Art exhibit and laugh at the grotesque creations jews had been passing off as something valuable during the Weimar Republic. Compared with the artwork being promoted by the National Socialists, the degenerate “art” looked like the work of mentally ill children with finger paints.
The jewish media loves to kvetch over all the “priceless” treasures that were taken by the “Nazis”, but never will you hear them mention all of the amazing artwork, including the architecture, that went up in a fiery blaze in Dresden, along with hundreds of thousands of tortured souls, thanks to the murderous hatred of the Allies.
In 2014 there was an Entartete Kunst exhibit in New York City that actually showed the sanctioned art vs the banned art.
During Adolf Hitler’s rise to power in the 1930s, one of the many groups he targeted during his quest to remake the world in his image was modern artists. The Nazis confiscated works by Matisse, Van Gogh, Picasso and others, and at a historic art show in 1937 displayed modern art pieces as “degenerate art.” Erin Moriarty of “48 Hours” takes us on a tour of the recreated event at the Neue Galerie in New York City.
It’s somewhat humorous, though at the same time terribly tragic, to watch as these so-called experts try to make the degenerate art seem intellectual and important while denigrating the classical European masterpieces. I would venture to say that even some people who have been thoroughly indoctrinated into the jewish system walked through the gallery and felt more drawn to the work of the “evil Nazis”.
Real beauty, excellence, and artistry is reviled by our jewish rulers because it inspires us to greatness, and also because they can never achieve such glorious heights. They want to infect us with their own degeneracy and debase the spirit of our folk, so that we are more easily ruled. They want us all stuck in the mud and not reaching for the stars.
In memory of the Terror Bombing of Dresden on 13-15 February 1945
Conductor: Herbert von Karajan
Performance: Vienna Philharmonic Orchestra
01:13 – Introitus
06:41 – Kyrie / Lord, Have Mercy
09:23 – Dies irae / Day of Wrath
11:15 – Tuba mirum / Trumpet
15:08 – Rex tremendae / Awesome King
17:29 – Recordare / Remember
22:39 – Confutatis / Confounded
24:56 – Lacrimosa / Tears
28:38 – Domine Jesu Christe / Lord Jesus Christ
32:31 – Hostias / Sacrifice
37:08 – Sanctus / Holy
39:01 – Benedictus / Blessed
44:39 – Agnus Dei / Lamb of God
48:20 – Lux Aeterna / Eternal Light
Art in the Third Reich refers to the many cultural arenas in Germany in the period 1933 – 1945 which could be classified as the Arts. It has been stated that “the Nazis exposed more Germans to culture than any previous regime.”
Youtube link: https://www.youtube.com/watch?v=qfGiYIppvDM
Since the collapse of the Third Reich a great deal, possibly most, of the cultural and artistic works of this period remain unknown to the average person. What the victorious World War II Allies and the subsequent liberal-left governments of Germany regarded as “controversial” remains hidden away and is accessible only to scholars for research purposes. “A whole chapter of Germany’s cultural history was pushed under the carpet” until 1988, when, in Frankfurt, the subject of the official art under the National Socialist regime was finally debated in public by German art historians for the very first time.
There were many facets of art in National Socialist Germany, where the State sought the development of a traditionalist German style linked to nature, the family and the homeland; and the suppression of modern, notably what they termed “degenerate”, art associated by the Reich with large cities, internationalism, and decadence. Painting, sculpture, architecture, music, film and all the other art disciplines were expected to reflect the greatness of European, and particularly German, civilisation and culture. Live events could also be an art: the Berlin Olympic Games in 1936, and the associated Winter Olympics at Garmisch-Partenkirchen and the Nazi Party rallies at Nuremberg being examples. “The modern state has taken on itself a cultural mission. It also insists on ruling over the arts. This means a commitment for the painter, sculptor, poet, and musician. Their work must serve the people,” declared the writer Ludwig Eberlein. Hitler added to that: “Art has at all times been the expression of an ideological and religious experience and at the same time the expression of a political will.” Hitler always stressed Antiquity as the real precursor of German art: “The struggle that rages today involves very great aims: a culture fights for its existence, which combines millenniums and embraces Hellenism and Germanity together.”
There were quite a few German art magazines which propagated the new German cultural ideology. Kunst und Volk (Art and the People) revelled in articles about mediaeval Germany and old sagas, linking them with subjects of the Teutonic peoples. Besides reproductions of new paintings, there were illustrations of the beloved precursors Durer and Riemenschneider. But the most important arts magazine of this era was Die Kunst im Dritten Reich, (Art in the Third Reich) which was founded in 1937. The first editor was Alfred Rosenberg. His collaborators were Walter Horn, Werner Rittich and Robert Scholz. The magazine reached a circulation of 50,000, very considerable for that time.
Despite the usual post-1945 liberal-left lies about and condemnations of the Third Reich’s cultural policies opposing ‘modernists’ and ‘progressives’, only a minority ‘suffered’ as a result, while “many artists thrived”. Indeed Petropoulos argues that it was the degrees of modernism which counted, and that some modernists managed to accommodate themselves in the new Reich. In 1947 the Allies’ denazification court in Munich stated “as National Socialist barbarism took over in 1933, it is deeply disappointing that the intellectual elite, instead of opposing, one by one collaborated with National Socialism and placed their talents and names at their disposal.” It is however, difficult to accept that any intelligent person really believes that a national, whatever their craft, would voluntarily resign their positions and professions and leave their homes, friends and homeland just because of a new democratically elected government.
Conductor: Wilhelm Furtwängler
Performance: Vienna Philharmonic Orchestra
I. Allegro Vivace e con Brio (00:00:00)
II. Allegretto Scherzando (00:08:35)
III. Tempo di Menuetto (00:13:17)
IV. Allegro Vivace (00:19:10)