The National-Socialist War Against Modern Art

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Source: http://www.renegadetribune.com/national-socialist-war-modern-art/

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.

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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.

Wolfgang Amadeus Mozart – Requiem Mass in D minor (K. 626)

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

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Artwork of the Third Reich

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Source: http://www.renegadetribune.com/artwork-third-reich/

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.

Artworks by Paul Geissler

paul-geissler-a-scene-of-the-river-rhine-with-the-city-and-cologne-cathedralA scene of the River Rhine with the city and Cologne Cathedral

paul-geissler-color-etchingColor Etching

paul-geissler-das-rathaus-in-bremenThe Town Hall in Bremen

paul-geissler-etching-neuschwanstein-castleEtching “Neuschwanstein Castle”

paul-geissler-german-cathedralGerman Cathedral

paul-geissler-mainzMainz

paul-geissler-rothenburg-ob-der-tauberRothenburg ob der Tauber

paul-geissler-the-munich-cathedralThe Munich Cathedral

paul-geissler-untitled-alpine-sceneUntitled Alpine Scene

paul-geissler-winter-view-of-rothenburgWinter View of Rothenburg

The Common Man’s Music

Source: http://www.renegadetribune.com/common-mans-music/

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By Mike Walsh

A common fallacy is that classical music is too good for disadvantaged ethnic-Europeans. The misunderstanding is the opposite of the truth. Classical music is more working class than is any other musical genre.

The composition of classical music requires intellectual gifts that are quite foreign to the wealthy and pretentious elite. Is this the reason why parasitical self-servers adopt truly great music as their own? Perhaps the dilettante believes that hijacking and forming a defensive ring around real music will somehow elevate their social standing in the community?

There are exceptions to the rule but classical music has its roots deep in the pastures of Europe’s impoverished class. History’s greatest composers are said to be J. S. Bach, Ludwig van Beethoven and Johannes Brahms. Dubbed the Holy Trinity each of these men, whose music holds hundreds of millions in awe, were born into poverty.

the-common-mans-music-02Bach, Beethoven, and Brahms

S. Bach was a poorly paid organist who supplemented his income by providing music lessons. Ludwig van Beethoven’s errant father was a near destitute church chorister with a penchant for alcoholism. The young Ludwig knew only hunger and beatings. The world’s greatest composers, like Mozart, Schubert and Schumann, died unrecognised in terrible poverty.

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Johannes Brahms’ situation was not much better. As a struggling musician trying to keep body and soul together the German composer played the piano in the bars and brothels fronting Hamburg’s waterfront.

Most of today’s art patrons would have placed perfumed handkerchiefs to their noses had they chanced upon Modest Mussorgsky. One of Russia’s great composers he was once so desperately in need that when hospitalised a family friend loaned him a hospital gown.

Wolfgang Amadeus Mozart was the seventh son of a music teacher who, when on the road, rarely knew where the next penny was coming from. Joseph Haydn whose compositions inspired history’s greatest musicians was another dirt poor ethnic-European. Joseph Haydn and his contemporaries certainly played for the aristocracy but the city’s bars and inns were very much enlivened by ‘Haydn’s band’.

the-common-mans-music-04Robert Schumann

Robert Schumann certainly wasn’t born with a silver spoon in his mouth. This gifted composer was the son of a peasant who became a village schoolteacher; Austria’s most prolific composer hosted musical soirees dubbed Schubertiade. Nobility deigned not to be present.

Excuse the expression but Franz Liszt’s father scratched a living by playing the violin and cello and also by giving piano lesson.

Frederic Chopin’s parents were lowly paid music teachers, Bedrich Smetana’s father, a brewer by trade, must have been adept at slap and tickle for Bedrich was one of eighteen children. It must be something in the beer. Gustav Mahler’s father, the son of a street peddler, was an innkeeper and coachman. The father of Jean Sibelius died of typhus. When he passed on he left so much debt that his wife was obliged to sell the family home.

The originator of the nocturne was not Frederic Chopin as is commonly believed but John Field. Now, he really was the poet of the piano. Sadly, the Irishman was prone to alcoholism and died desperately poor in Saint Petersburg.

The adulation and exultation of the masses when Emil Waldteufel, Frederic Chopin, the Strauss brothers and their contemporaries composed a new dance was staggering. The cities of Europe went wild and sheet music changed hands at eye-watering prices. The most humble homes boasted complex musical instruments ~ and they could play them.

the-common-mans-music-05Herbert von Karajan

Considered to be the greatest conductor and musician of all time Austria’s Herbert von Karajan as a child endured poverty far beyond our understanding. The great Irish flautist, James Galway, who started life in one of the most deprived areas of terraced home Belfast, with typical Irish humour, referred to the Berlin Philharmonic Orchestra as ‘Herbie’s Band.’

When Spain’s Banco Sabadell sponsored a ‘flash mob’ the occasion’s popularity was overwhelming. The conductor of this performance was Hobart Earle. The Venezuelan first came to fame as conductor of the Odessa (Ukraine) Philharmonic Orchestra. Beethoven’s Ode to Joy was performed by Spanish musicians and conductor at the Placa de Sant Roc, a small town a little north of Barcelona. This YouTube presentation has so far attracted over 71 million views. Tough ex-British sailor I am but I cannot watch this impromptu performance without filling up and feeling overwhelmed by my pride of race.

As an interesting aside it was Friedrich Schiller’s poem, First Spring, which inspired Ludwig van Beethoven’s composition. In Schiller’s original lyrics are the words, ‘princes become friends with beggars.’ Such boldness scared the aristocracy who translated it to ‘all humans become brothers’.

I hold the utmost respect for genuine patrons of the arts. But, many today are what Adolf Hitler dismissed as the bien pensant or conventional conformists. Germany’s twice-elected Chancellor was both poet and artist. The German statesman and social reformer’s art pieces change hands at prices higher than Picasso’s. Very much a devotee and patron of the arts, including of course classical music, the German leader is credited with returning the people’s art and music to the people from whence it came. At the close of the war it was the Russian, American and British dilettante who looted German art and denied the world’s greatest art to the people who had created it.

Among the glitterati that attend great cultural events there are few who created anything other than a wealth wrung from the sweat rags of the most creative peoples of all time; the ethic-European working class.

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