Degenerate Art ex Wiki
QUOTE
Degenerate art is the English translation of the German
entartete Kunst, a term adopted by the
Nazi
regime in
Germany to describe virtually all
modern art.
Such art was banned
on the grounds that it was un-German
or
Jewish Bolshevist in nature, and those identified as degenerate artists were
subjected to sanctions. These included being dismissed from teaching positions,
being forbidden to exhibit or to sell their art, and in some cases being
forbidden to produce art entirely.
Degenerate Art was also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria.
While modern styles of art were prohibited, the Nazis promoted
paintings
and
sculptures that were traditional in manner and that exalted the "blood
and soil" values of
racial purity,
militarism,
and
obedience. Similarly, music was expected to be
tonal and
free of any jazz
influences; films and plays were
censored.[1]
UNQUOTE
The
Wikipedia sounds hostile to
Adolf Hitler but does not give us any reason for
believing he was wrong about Art or about Jews
for that matter. He knew they were trying to steal Germany. They got
Palestine, the Stolen Land
instead. The art angle was an aspect of Cultural Marxism
Degenerate Art ex Wiki Part II
QUOTE
The early twentieth century was a period of wrenching changes in the
arts. In the visual arts, such innovations as
cubism,
Dada and
surrealism—following hot on the heels of
symbolism,
post-Impressionism and
Fauvism—were
not universally appreciated. The majority of people in Germany, as
elsewhere, did not care for the new art which many resented as
elitist, morally suspect, and too often incomprehensible [ or downright
ugly perhaps but the Wiki is not going to tell us that - Editor ].[2]
Under the Weimar government of the 1920s, Germany emerged as a leading center of the avant-garde—the birthplace of Expressionism in painting and sculpture, of the atonal musical compositions of Arnold Schoenberg, and the jazz-influenced work of Paul Hindemith and Kurt Weill. Films such as Robert Wiene's The Cabinet of Dr. Caligari (1920) and F.W. Murnau's Nosferatu (1922) brought Expressionism to cinema.
The Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from a conservative aesthetic taste [ as distinct from a taste for ugliness - Ed. ], and partly from their determination to use culture as a propaganda tool.[3] On both counts, a painting such as Otto Dix's War Cripples (1920) was anathema to them. It unsparingly depicts four badly disfigured veterans of the First World War, then a familiar sight on Berlin's streets, rendered in caricatured style. Featured in the Degenerate Art exhibition, it would hang next to a label accusing Dix—himself a volunteer in World War I[4]—of "an insult to the German heroes of the Great War".[5]
As dictator, Hitler gave his personal taste in art the force of law to a degree never before seen. Only in Stalin's Soviet Union, where Socialist Realism was the mandatory style, had a state shown such concern with regulation of the arts.[6] In the case of Germany, the model was to be classical Greek and Roman art, seen by Hitler as an art whose exterior form embodied an inner racial ideal [ Presumably in Hitler And The Artists - the idea seems fairly implausible - Editor ].[7]
The reason for this, as Henry Grosshans points out, is that Hitler "saw Greek and Roman art as uncontaminated by Jewish influences. Modern art was [seen as] an act of aesthetic violence by the Jews against the German spirit. Such was true to Hitler even though only Liebermann, Meidner, Freundlich, and Marc Chagall, among those who made significant contributions to the German modernist movement, were Jewish. But Hitler [...] took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew."[8]
The supposedly "Jewish" nature of all art that was indecipherable,
distorted, or that represented "depraved" subject matter was explained
through the concept of degeneracy, which held that distorted and corrupted
art was a symptom of an inferior race [ a circular argument - Ed. ]. By propagating the theory of
degeneracy, the Nazis combined their
anti-Semitism with their drive to control the culture, thus
consolidating public support for both campaigns.
UNQUOTE
A better justification but still wrong.
Jews use blacks. Jews use anyone.
Dada Art Movement Part 1
QUOTE
The twentieth century saw a proliferation of art inspired by the Jewish
culture of critique. The exposure and promotion of this art grew alongside
the Jewish penetration and eventual capture of the Western art
establishment. Jewish artists sought to rewrite the rules of artistic
expression — to accommodate their own technical limitations and facilitate
the creation (and elite acceptance) of works intended as a rebuke to Western
civilizational norms.
The Jewish intellectual substructure of many of these twentieth-century art movements was manifest in their unfailing hostility toward the political, cultural and religious traditions of Europe and European-derived societies. I have examined how the rise of Abstract Expressionism exemplified this tendency in the United States and coincided with the usurping of the American art establishment by a group of radical Jewish intellectuals. In Europe, Jewish influence on Western art reached a peak during the interwar years. This era, when the work of many artists reflected their radical politics, was the heyday of the Jewish avant-garde.
A prominent example of a cultural movement from this time with important
Jewish involvement was Dada. The Dadaists challenged the very foundations of
Western civilization which they regarded, in the context of the destruction
of World War One, and continuing anti-Semitism throughout Europe, as
pathological. The artists and intellectuals of Dada responded to this
socio-political diagnosis with assorted acts of cultural subversion. Dada
was a movement that was destructive and nihilistic, irrational and
absurdist, and which preached the overturning of every cultural tradition of
the European past, including rationality itself.
UNQUOTE
Jews are destroyers but cunning, paranoid effective destroyers.
