Art

Roc de Sers – Solutrean Art from 17,500 Years Ago

http://www.renegadetribune.com/roc-de-sers-solutrean-art-17500-years-ago/
From March of the Titans (on Youtube)

An important and rare site of cave art from the Solutrean period, Roc de Sers is a rock shelter and sanctuary situated north of Gachedou, in the Charente. Although it contains a variety of prehistoric art, it is best known for its series of sculpted, engraved and painted limestone blocks, decorated with more than 50 rock engravings and works of relief sculpture, depicting bison, horses and other animals. Prehistorians see Roc de Sers as an important benchmark of Solutrean art, notably in the area of prehistoric sculpture, where the interplay between form, light and shadow seem to have been fully appreciated by the shelter’s artists. Most of the limestone blocks are now part of the permanent collection of Stone Age Art at the French Museum of National Antiquities (Saint-Germain-en-Laye), although copies can be seen at Roc de Sers.

Discovery and Excavation

Located in the vallée de l’Echelle, a tributary of the Touvre, the site of Roc de Sers was excavated in 1908 by A. Favraud and by Dr. Henry Martin from 1917. The first elements of the sculpted frieze of Roc de Sers were discovered in 1927 by Dr. Henry-Martin. These excavations were interrupted in 1933. Other carved items were discovered in 1951 by R. Lantier and Mlle G. Henry-Martin.

Dating

Excavations of the embankment downstream of the shelter has yielded artifacts and sediments from various occupations dating back to between 18,000 and 15,000 BCE. Artifacts recovered include “feuilles de laurier”, shouldered points, willow points, burins, scrapers, grattoirs and blades. The worked material is mainly flint, but rock crystal, quartz and quartzite were also used. The discovery of large clusters of small stone chips suggests the presence of lithic workshops.

The date of the sculpted limestone slabs can be confidently attributed to the Solutrean era, about 17,200 BCE, as they collapsed into precisely dated archeological deposits. Contemporaneous sites of Franco-Cantabrian cave art include: Le Placard Cave (17,500 BCE), noted for its peculiar abstract signs; the world-renowned Lascaux Cave paintings (from 17,000 BCE); and the La Pasiega Cave art (16,000 BCE) in Puente Viesgo, Spain.

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Prehistoric Europe – The Birthplace of Art

http://www.renegadetribune.com/prehistoric-europe-birthplace-art/

 

By March of the Titans

The Chauvet-Pont-d’Arc Cave in the Ardèche department of southern France is a cave that contains some of the earliest known cave paintings, as well as other evidence of Upper Paleolithic life. It is located near the commune of Vallon-Pont-d’Arc on a limestone cliff above the former bed of the Ardèche River, in the Gorges de l’Ardèche. Discovered on December 18, 1994, it is considered one of the most significant prehistoric art sites.

The cave was first explored by a group of three speleologists: Eliette Brunel-Deschamps, Christian Hillaire, and Jean-Marie Chauvet for whom it was named. Chauvet (1996) has a detailed account of the discovery. In addition to the paintings and other human evidence, they also discovered fossilized remains, prints, and markings from a variety of animals, some of which are now extinct. Further study by French archaeologist Jean Clottes has revealed much about the site. The dates have been a matter of dispute but a study published in 2012 supports placing the art in the Aurignacian period, approximately 30,000–32,000 BP.

The cave is situated above the previous course of the Ardèche River before the Pont d’Arc opened up. The gorges of the Ardèche region are the site of numerous caves, many of them having some geological or archaeological importance. The Chauvet Cave is uncharacteristically large and the quality, quantity, and condition of the artwork found on its walls have been called spectacular. Based on radiocarbon dating, the cave appears to have been used by humans during two distinct periods: the Aurignacian and the Gravettian. Most of the artwork dates to the earlier, Aurignacian, era (30,000 to 32,000 years ago). The later Gravettian occupation, which occurred 25,000 to 27,000 years ago, left little but a child’s footprints, the charred remains of ancient hearths, and carbon smoke stains from torches that lit the caves. After the child’s visit to the cave, evidence suggests that due to a landslide which covered its historical entrance, the cave had been untouched until it was discovered in 1994. The footprints may be the oldest human footprints that can be dated accurately.

The soft, clay-like floor of the cave retains the paw prints of cave bears along with large, rounded, depressions that are believed to be the “nests” where the bears slept.

Hundreds of animal paintings have been catalogued, depicting at least 13 different species, including some rarely or never found in other ice age paintings. Rather than depicting only the familiar herbivores that predominate in Paleolithic cave art, i.e. horses, cattle, mammoths, etc., the walls of the Chauvet Cave feature many predatory animals, e.g., cave lions, panthers, bears, and cave hyenas.

Typical of most cave art, there are no paintings of complete human figures, although there is one partial “Venus” figure composed of a vulva attached to an incomplete pair of legs. Above the Venus, and in contact with it, is a bison head, which has led some to describe the composite drawing as a Minotaur. There are a few panels of red ochre hand prints and hand stencils made by spitting pigment over hands pressed against the cave surface. Abstract markings—lines and dots—are found throughout the cave. There are also two unidentifiable images that have a vaguely butterfly or avian shape to them. This combination of subjects has led some students of prehistoric art and cultures to believe that there was a ritual, shamanic, or magical aspect to these paintings.

The artists who produced these unique paintings used techniques rarely found in other cave art. Many of the paintings appear to have been made only after the walls were scraped clear of debris and concretions, leaving a smoother and noticeably lighter area upon which the artists worked. Similarly, a three-dimensional quality and the suggestion of movement are achieved by incising or etching around the outlines of certain figures. The art is also exceptional for its time for including “scenes”, e.g., animals interacting with each other; a pair of woolly rhinoceroses, for example, are seen butting horns in an apparent contest for territory or mating rights.

Dating

The cave contains some of the oldest known cave paintings, based on radiocarbon dating of “black from drawings, from torch marks and from the floors”, according to Jean Clottes. Clottes concludes that the “dates fall into two groups, one centered around 27,000–26,000 BP and the other around 32,000–30,000 BP.” As of 1999, the dates of 31 samples from the cave had been reported. The earliest, sample Gifa 99776 from “zone 10”, dates to 32,900 ± 490 BP.

The Promotion of Pyramid Scheme Inversion Art

http://www.renegadetribune.com/promotion-pyramid-scheme-inversion-art/

 

By Russ Winter of The New Nationalist

Anybody who even cursorily follows financial markets will see plenty of evidence and commentary from high profile participants who say prices are controlled, rigged and manipulated. A number of top “old school” fund managers have hung it up as a result.

The New Nationalist (TNN) will take it a step further and show that many markets are in fact inverted. The term inversion is a Luciferian term signifying turning light into dark and beauty into ugly under the guise of illumination or progress.

The contemporary art world is dominated by a “club” of hyper-wealthy oligarchs and kleptocratic kingpins who drive prices and pick winners and losers. There is a network of paid hacks called “art critics” who decide what is exceptional art. Then, once the winning artists are determined, the players drive prices up creating yet more artificial wealth. Money drives art and then determines who and what is successful down the aspiring-artist chain.

One of the largest “art” collectors in the world is Hollywood mogul (((David Geffin))). Geffin, also is a homosexual and, along with his cohorts, has determined the menu of entertainment and music the public is fed.

According to the Los Angeles Museum of Contemporary Art Chief Curator (((Paul Schimmel))), “There’s no collection that has a better representation of post-war American art than David Geffen’s.

Wealth-X reported in June 2013 that Geffen owns the most valuable private art collection in the world, with an estimated worth of $1.1 billion. This is about 20% of his fortune. Following Geffen, the most valuable collections belong to (((Steven A. Cohen))) and (((Eli Broad))), each of whom has $1 billion invested. In total, art comprises 12% of Cohen’s $8.3-billion fortune and 16.7% of Broad’s $6-billion portfolio.

The images that follow represent the highest-priced art that exchanges hands with these collectors. You can decide for yourself its merits. In February 2016, Bloomberg reported that Geffen had sold De Kooning’s 1955 oil painting “Interchanged” for $300 million and Pollock’s 1948 painting “Number 17A” for $200 million — both to hedge-fund billionaire Ken Griffin. Griffin is so aggressive that the night Enron went bankrupt, he said he had people on the ground scooping up one of the company’s teams immediately.

Who was Jackson Pollock (1912 – 1956)? During his lifetime, Pollock enjoyed considerable fame and notoriety. He was a major artist among his generation and was a reclusive alcoholic. He married (((Lee Krasner))), who had considerable success promoting his overrated art, especially after Pollock’s death and into the mind-numbing Flower Power age. The movie Pollock, starring Ed Harris, provides the particulars. It picks up on the Jewish insider club art speculation and hype.

‘Interchanged’ by Willem de Kooning: $300 million
‘No. 17A’ by Jackson Pollock: $200 million

Next up is hedge-fund billionaire Steve A Cohen. He purchased Picasso’s ‘Le Reve’ from casino magnate (((Steve Wynn))) for $150 million in 2012

Picasso’s ‘Le Reve’: $150 million

Eli Broad, the home-builder billionaire, has done more than inflate “art.” He was the founding chairman of the Museum of Contemporary Art, Los Angeles in 1979. Those are the elites who brought us the Spirit Cooking galas [we covered here]. He negotiated the acquisition of the Panza Collection for the museum (see below). The Broad Foundations, which include The Eli and Edythe Broad Foundation and The Broad Art Foundation, have assets of $2.1 billion. Broad promotes charitable giving to the arts but to whom and to promote what exactly?

From Panza collection. What kind of scam is this?

“Onement VI” from abstract expressionist painter (((Barnett Newman))) sold at auction at Sotheby’s in 2013 for a record-setting $43.8 million. This was soon eclipsed by a $84.1-million sale called “Black Fire I.” The buyers were not disclosed.

$43.8 million
$84.1 million
Broad has taken his “talents” to serve from 2004 to 2009 as regent of the Smithsonian Institution by appointment of the U.S. Congress and the president. He is a fellow of the American Academy of Arts and Sciences. Broad serves on the board of the Future Generation Art Prize. He is behind many artists of dubious quality, including the king of kitsch, Jeff Koons.

As a change of pace and a breath of fresh air, amid all this promotion of upside-down inversion, here is art by a well-known figure who didn’t make it in that field. The reader is left to decide who the real artists are here. For the answer to who this artist was, click the next link.

Paintings by a “failed artist”:


This article originally appeared on The New Nationalist and was republished here with permission.

Jared Kushner and Ivanka Trump reportedly failed to disclose multimillion-dollar art collection

(JTA) — Jared Kushner and Ivanka Trump failed to disclose to tax authorities a multimillion-dollar art collection they have amassed since they were married in 2009, a news site on the arts sector reported.

Kushner, a senior adviser and son-in-law to President Donald Trump, and Ivanka Trump have acquired works by blue-chip and emerging artists, including Alex Israel, Dan Colen, Nate Lowman, Alex Da Corte, and David Ostrowski, according to the report Thursday on Artnet News.

In the required financial disclosures, however, Kushner failed to report the couple’s art collection, according to the report.

In recent months, Trump’s top Cabinet picks have revealed considerable art holdings as part of required financial disclosures. Commerce Secretary Wilbur Ross disclosed an art collection worth at least $50 million. Treasury Secretary Steven Mnuchin revealed his stake in a $14.7 million Willem de Kooning painting, plus other artworks, according to Artnet.

Responding to an inquiry about the collection’s exclusion from Kushner’s financial disclosures, a lawyer advising Kushner told Artnet News that the art holdings would be added to a new version of his disclosure form.

“Mr. Kushner and Ms. Trump display their art for decorative purposes and have made only a single sale,” the lawyer said in a statement issued by the White House. “To avoid any doubt, however, they will report their art collection.”

Earlier this month, The Wall Street Journal wrote that Kushner did not report his stake in Cadre, a real estate finance startup co-founded with his brother Joshua. The real estate scion turned White House adviser also failed to report loans totaling at least $1 billion from more than 20 lenders to properties and companies he co-owns, according to the Journal.

Ethics experts say it is not uncommon for administration officials to update financial disclosures with more information. The White House did not indicate when the new disclosure would be released.

The disclosure rules for federal employees on art are complicated, hinging on the distinction between works purchased for investment or for personal enjoyment. Federal employees such as Kushner are required to disclose artwork if it is held for investment purposes and is worth more than $1,000, according to the Office of Government Ethics.

The ethics office’s website says that artwork displayed for “decorative or artistic purposes” is “not normally” considered an investment. According to the OGE, “periodic sales from a collection of artwork” are the most relevant indicator of whether a collection is held for investment purposes.

Wolfgang Willrich: An Artist of the Third Reich

One of the Third Reich’s most famous artists was Wolfgang Willrich.

Born on March 31, 1897 from a long line of peasant stock, Willrich displayed artistic while still very young.

When he went to college in 1915 in Berlin, he viewed the art trends as decadent. In 1916 he was drafted and served as a non-com in the 251st Infantry Regiment.

He was awarded the Iron Cross on the Western Front. When he became a p.o.w., he spent much time drawing. His first drawings were published by the International Red Cross in a magazine for prisoners of war.

 

After his release, he resumed study. Although he joined Ludendorff’s Tannenberg Association, differences with Mathilde von Ludendorff caused him to leave. But he still published in their journal. Willrich excelled at portraying Nordic racial types.

In 1933-1934 he was active in the Reich Ministry of Culture, but was forced out because of his affiliation with the Ludendorff circle. Later R. Walter Darre made him an independent employee so he could continue to draw Nordic peasants, which he did with much enthusiasm. Many of his drawings appeared as posters and postcards and were widely distributed. But he still maintained his independence.

He turned down Heinrich Himmler’s offer to become an honorary member of the SS. I fact, he never even joined the NSDAP. Ironically, he considered the Third Reich’s opposition against degenerate art to be too moderate! Together with Walter Hansen and Graf Klaus von Baudissin, he helped organize the Munich Exhibition of Degenerate Art in 1937.

In 1939 he asked to be sent to the front as a combat artist. After Poland, he went to France, Norway, Finland, Sicily and Russia. Many famous military leaders were portrayed by him. Later he portrayed many holders of the Knights Cross. At the end of 1943 he returned to Berlin where he continued his work.

His final art works were published in Argentina after the war. He died on October, 1948 of cancer.

The Völkisch Art of Josef Gerlach

http://www.renegadetribune.com/volkisch-art-josef-gerlach/

 

I have to give all the credit in the world to Galleria d’Arte Thule for discovering this ‘obscure’ artist from the Third Reich era to me. Most of the graphic material here seems to come from old magazines of the period, which makes me think if this kind of material had not survived we would have probably lost all information about artists such as Josef Gerlach. I completely ignore if his paintings still exist today (at least I have not found any evidence of his work being sold at any of these auction websites). From this little collection of artworks I have to point out the enigmatic Frau mit Alpenveilchen (Woman with Alpine Violet) (1940) a haunting image which looks to me like some kind of Aryan ‘Mona Lisa’ of sorts, or one of these unique moments in art in which the subject acquires some sort of transcendence due to the way of its representation. Another feature about Josef Gerlach that catches my attention is his very streamlined style (rather contemporary-looking if you ask me) which could have put him on a pair with the great Wolfgang Willrich.

Biography

Josef Gerlach was born in Barmen (Wuppertal) on September 9, 1900. He began his art studies in Barmen with the famous painter and ideologue Ludwig Fahrenkrog. From 1920 to 1926 he studied in the Academy of Fine Arts in Dresden with the painter Georg Lührig. In 1925 Gerlach participated in the Neue Gruppe association of Dresden artists who were students of the painter and graphic artist Richard Müller. Gerlach took part in the exhibition collective with Dresdner Kunstgenossenschaft and Dresdner Sezession from July to October 1925 with the artists Johannes Maximilian Avenarius, Ernst Christian W. Berger, Ludwig Göbel, Richard Guhr, Karl Hanusch, Olaf Jordan, Hermann Lange, Georg Lührig, Richard Müller, Erich Ockert, Bruno Seener, Georg Siebert, Max Stecher and Wolfgang Willrich. Its proximity to the völkisch circles was clearly evident in his works of ethnic, folk and peasants which appeared in magazines such as Neues Volk, Volk und Rasse, Velhagen & Klasings and Westermanns Monatshefte.

From 1931 to 1941 he was a teacher of painting techniques and murals. From 1941 to 1945 he became a soldier in the Second World War. After the war, due to his close association with the National Socialist ideology, Gerlach was suspended from teaching. Josef Gerlach died in Stockach (Baden-Württemberg) on December 28, 1992.

The Destruction of Hitler’s Architectural Vision and the Menace of Modernism

People know that Adolf Hitler was once an aspiring painter, but some might not know of his intense passion for architecture. He would walk through Vienna and just take in all of the beautiful buildings for hours on end. Many of his paintings show his fascination with great architecture, and his incredible attention to detail. Hitler writes in Mein Kampf of how he was rejected by the Academy of Fine Arts Vienna because he was told that he should be in the School of Architecture.

In the last months of her sickness, I had gone to Vienna to take the entrance examination for the Academy. I had set out with a pile of drawings, convinced that it would be child’s play to pass the examination. At the Realschule I had been by far the best in my class at drawing, and since then my ability had developed amazingly; my own satisfaction caused me to take a joyful pride in hoping for the best.

Yet sometimes a drop of bitterness put in its appearance: my talent for painting seemed to be excelled by my talent for drawing, especially in almost all fields of architecture. At the same time my interest in architecture as such increased steadily, and this development was accelerated after a two weeks’ trip to Vienna which I took when not yet sixteen. The purpose of my trip was to study the picture gallery in the Court Museum, but I had eyes for scarcely anything but the Museum itself. From morning until late at night, I ran from one object of interest to another, but it was always the buildings which held my primary interest. For hours I could stand in front of the Opera, for hours I could gaze at the Parliament; the whole Ring Boulevard seemed to me like an enchantment out of -The Thousand-and-One-Nights.

Now I was in the fair city for the second time, waiting with burning impatience, but also with confident self-assurance, for the result of my entrance examination. I was so convinced that I would be successful that when I received my rejection, it struck me as a bolt from the blue. Yet that is what happened. When I presented myself to the rector, requesting an explanation for my non-acceptance at the Academy’s school of painting, that gentleman assured me that the drawings I had submitted incontrovertibly showed my unfitness for painting, and that my ability obviously lay in the field of architecture; for me, he said, the Academy’s school of painting was out of the question, the place for me was the School of Architecture. It was incomprehensible to him that I had never attended an architectural school or received any other training in architecture. Downcast, I left von Hansen’s magnificent building on the Schillerplatz, for the first time in my young life at odds with myself. For what I had just heard about my abilities seemed like a lightning flash, suddenly revealing a conflict with which I had long been afflicted, although until then I had no clear conception of its why and wherefore.

In a few days I myself knew that I should some day become an architect.

As we know, Hitler never became an architect as he imagined, as he was transformed by his struggle in the First World War and instead became the architect of one of the greatest nations the world has ever seen. Part of Hitler’s vision for Germany involved a revival of great art and architecture, hearkening back to classical themes while still keeping an eye on the future. Hitler’s most celebrated architect was Albert Speer, who survived the war and would go on to write some less than favorable things about Hitler and the Third Reich in later years. During their productive time together, however, Speer worked with Hitler to create masterpieces of architecture.

Unfortunately, most of their great plans never came to fruition, as little Germany became embroiled in a war against the world’s greatest empires. Hitler held out hope that upon victory they would be able to create a country filled with magnificent architecture, especially in the capitol city of Berlin. There are many videos you can watch regarding the plans for “World Capitol Germania” (a name Speer later invented), some of which have good information, but there is almost always some bias. To just give you a taste of what they had planned, here is a short video with some foreboding music and a very dramatic sky.

Instead of realizing their dreams, Germany’s amazing architecture (along with her innocent citizenry) was bombed to bits. The country was left in ruins. Some National Socialist buildings still stood and some masterpieces in cities like Dresden were rebuilt, but there was to be a new vision for the architecture of Germany and the rest of the world following World War II. Jews, who had absolutely no tradition of architecture besides their fabled Temple (built by a “goy” named Hiram Abiff), were to take the lead in reshaping the entire world around us.

Lacking a body of historical precedents, creating a ‘Jewish’ architecture simply isn’t possible.

The above quote comes from the Jerusalem Post, which details just how inexperienced (and inept) jews are in regards to architecture.

Most synagogues in the Diaspora weren’t designed by Jews and mainly resembled the architecture of their host countries. Until modern times, the synagogues of Europe were built by Christian architects. Fear of idolatry and transgressing the second commandment limited Jewish artistic activity for generations to the adornment of ritual objects.

Judaism has always been mainly a literary culture in which the height of achievement was to be a scholar of the Torah. Moreover, in Judaism, the emphasis is placed not on the physical but on the spiritual. Lacking a body of historical precedents, a Jewish architecture could not possibly have flowered. […]

With the decrease of anti-Semitism following World War II, greater numbers of Jews began to enter the profession. By 1960, three Jewish architects – Oscar Niemeyer of Brazil, Eric Mendelsohn (born in Poland) and Richard Neutra (born in Austria), were already counted among the masters of 20th century architecture, but Judaism was never their point of departure. While today we have quite a number of Jewish architects of international stature, their works are irrelevant to Jewish life.

The jews who began to dominate the architectural landscape brought us “modernism”, which has effectively severed us from thousands of years of European tradition and architectural advancement.

The Daily Beast reports:

Most design aficionados know the modernist greats. But what they don’t realize: They were all Jewish.

The article goes through the jewish modernists in all different fields, including architecture:

R.M. Schindler and Richard Neutra, the trailblazing Austrian émigrés who transformed Los Angeles into a hotbed of modernist architecture. […] Architect Marcel Breuer. […] Architectural photographer Julius Shulman.

Some of the modernist jews came to us in America after leaving Hitler’s Germany.

Hitler was profoundly anti-Semitic, but he was also anti-Modern. So you had a large contingent of émigrés from the Bauhaus, and they were very much embraced by places like the Museum of Modern Art. That exodus greatly increased the number of modern Jewish designers and architects in America.

Their motivation for creating such crap?

European Jews gravitated toward modernism as a way to get away from history. At the same time, though, they wanted to define themselves as sort of elite and up-and-coming.

Another gem, showing us just what modern architecture is really all about:

I’m reminded of a quote from the Jewish architect Percival Goodman. He wrote in 1961 that modernism was especially suited to “people historically conditioned like the Jews” to embrace social reform and community spirit.

What effect does this all have on our minds?

(((Postmodern architect, Libeskind))) “the Holocaust has rendered the right angle morally suspect.”

Now that virtually every revolution has been successful, Jews get to build revolutionary buildings as the monument to their success. pic.twitter.com/znmH3SVIZO

View image on Twitter

A jewish architect even said that the right angle is now morally suspect due to the Holocaust. From E. Michael Jones in Living Machines : Bauhaus Architecture As Sexual Ideology:

According to [Peter] Eisenman, “the smoke of Auschwitz” has rendered certain architectural styles morally invalid. People who persist in the wickedness otherwise known as classical (or modern) architecture, run the danger of incurring the wrath of commissars like Eisenman or Daniel Libeskind, who claims that the Holocaust has rendered the right angle morally suspect. The right angle, Libeskind tells us, “is a product of a spiritual history… and when that spiritual history is no longer decisive, the right angle also changes. Perhaps yesterday’s perfection is no longer ‘right’ for us.” Libeskind dislikes right angles because they imply “the right, the orthogonal, the vertical versus the horizontal, man versus woman, earth versus God, light versus darkness, and good versus evil. It would be easy if the categories were still valid, but so many things have changed. We no longer operate with the right angle in the sciences, economics, chemistry, in our daily life. So it seems we should ask: What do we operate with? What are our geometries? What are our orientations?” The only legitimate architecture, in other words, is one that gives form to “fragments, approximations, [and] indeterminacies…””

Let’s now take a look at some of the buildings created or planned by Daniel Libeskind, the world-famous architect who hates right angles.

These are just a few of the modern monstrosities created by one jewish architect, but there are many more going up around the world all the time. This is the world jews have created. Does anyone actually like seeing these buildings? I have a feeling very few non-jews get much delight out of this awful architecture, but do not trust their instincts, and instead go along with this new vision because it is what is popular. They do not even know they should say “thanks jews” for all their cultural subversion.

Adolf Hitler on the Destruction of Art and Culture

http://www.renegadetribune.com/adolf-hitler-destruction-art-culture/

 

From Mein Kampf

If we study the course of our cultural life during the last twenty-five years we shall be astonished to note how far we have already gone in this process of retrogression. Everywhere we find the presence of those germs which give rise to protuberant growths that must sooner or later bring about the ruin of our culture. Here we find undoubted symptoms of slow corruption; and woe to the nations that are no longer able to bring that morbid process to a halt.

In almost all the various fields of German art and culture those morbid phenomena may be observed. Here everything seems to have passed the culminating point of its excellence and to have entered the curve of a hasty decline. At the beginning of the century the theatres seemed already degenerating and ceasing to be cultural factors, except the Court theatres, which opposed this prostitution of the national art. With these exceptions, and also a few other decent institutions, the plays produced on the stage were of such a nature that the people would have benefited by not visiting them at all. A sad symptom of decline was manifested by the fact that in the case of many ‘art centres’ the sign was posted on the entrance doors: FOR ADULTS ONLY.

Let it be borne in mind that these precautions had to be taken in regard to institutions whose main purpose should have been to promote the education of the youth and not merely to provide amusement for sophisticated adults. What would the great dramatists of other times have said of such measures and, above all, of the conditions which made these measures necessary? How exasperated Schiller would have been, and how Goethe would have turned away in disgust!

But what are Schiller, Goethe and Shakespeare when confronted with the heroes of our modern German literature? Old and frowsy and outmoded and finished. For it was typical of this epoch that not only were its own products bad but that the authors of such products and their backers reviled everything that had really been great in the past. This is a phenomenon that is very characteristic of such epochs. The more vile and miserable are the men and products of an epoch, the more they will hate and denigrate the ideal achievements of former generations. What these people would like best would be completely to destroy every vestige of the past, in order to do away with that sole standard of comparison which prevents their own daubs from being looked upon as art. Therefore the more lamentable and wretched are the products of each new era, the more it will try to obliterate all the memorials of the past. But any real innovation that is for the benefit of mankind can always face comparison with the best of what has gone before; and frequently it happens that those monuments of the past guarantee the acceptance of those modern productions. There is no fear that modern productions of real worth will look pale and worthless beside the monuments of the past. What is contributed to the general treasury of human culture often fulfils a part that is necessary in order to keep the memory of old achievements alive, because this memory alone is the standard whereby our own works are properly appreciated. Only those who have nothing of value to give to the world will oppose everything that already exists and would have it destroyed at all costs.

And this holds good not only for new phenomena in the cultural domain but also in politics. The more inferior new revolutionary movements are, the more will they try to denigrate the old forms. Here again the desire to pawn off their shoddy products as great and original achievements leads them into a blind hatred against everything which belongs to the past and which is superior to their own work. As long as the historical memory of Frederick the Great, for instance, still lives, Frederic Ebert can arouse only a problematic admiration. The relation of the hero of Sans Souci to the former republican of Bremen may be compared to that of the sun to the moon; for the moon can shine only after the direct rays of the sun have left the earth. Thus we can readily understand why it is that all the new moons in human history have hated the fixed stars. In the field of politics, if Fate should happen temporarily to place the ruling power in the hands of those nonentities they are not only eager to defile and revile the past but at the same time they will use all means to evade criticism of their own acts. The Law for the Protection of the Republic, which the new German State enacted, may be taken as one example of this truth.

One has good grounds to be suspicious in regard to any new idea, or any doctrine or philosophy, any political or economical movement, which tries to deny everything that the past has produced or to present it as inferior and worthless. Any renovation which is really beneficial to human progress will always have to begin its constructive work at the level where the last stones of the structure have been laid. It need not blush to utilize those truths which have already been established; for all human culture, as well as man himself, is only the result of one long line of development, where each generation has contributed but one stone to the building of the whole structure. The meaning and purpose of revolutions cannot be to tear down the whole building but to take away what has not been well fitted into it or is unsuitable, and to rebuild the free space thus caused, after which the main construction of the building will be carried on.

Thus alone will it be possible to talk of human progress; for otherwise the world would never be free of chaos, since each generation would feel entitled to reject the past and to destroy all the work of the past, as the necessary preliminary to any new work of its own.

The saddest feature of the condition in which our whole civilization found itself before the War was the fact that it was not only barren of any creative force to produce its own works of art and civilization but that it hated, defiled and tried to efface the memory of the superior works produced in the past. About the end of the last century people were less interested in producing new significant works of their own–particularly in the fields of dramatic art and literature–than in defaming the best works of the past and in presenting them as inferior and antiquated. As if this period of disgraceful decadence had the slightest capacity to produce anything of superior quality! The efforts made to conceal the past from the eyes of the present afforded clear evidence of the fact that these apostles of the future acted from anevil intent. These symptoms should have made it clear to all that it was not a question of new, though wrong, cultural ideas but of a process which was undermining the very foundations of civilization. It threw the artistic feeling which had hitherto been quite sane into utter confusion, thus spiritually preparing the way for political Bolshevism. If the creative spirit of the Periclean age be manifested in the Parthenon, then the Bolshevist era is manifested through its cubist grimace.

In this connection attention must be drawn once again to the want of courage displayed by one section of our people, namely, by those who, in
virtue of their education and position, ought to have felt themselves obliged to take up a firm stand against this outrage on our culture. But they refrained from offering serious resistance and surrendered to what they considered the inevitable. This abdication of theirs was due, however, to sheer funk lest the apostles of Bolshevist art might raise a rumpus; for those apostles always violently attacked everyone who was not ready to recognize them as the choice spirits of artistic creation, and they tried to strangle all opposition by saying that it was the product of philistine and backwater minds. People trembled in fear lest they might be accused by these yahoos and swindlers of lacking artistic appreciation, as if it would have been a disgrace not to be able to understand and appreciate the effusions of those mental degenerates or arrant rogues. Those cultural disciples, however, had a very simple way of presenting their own effusions as works of the highest quality. They offered incomprehensible and manifestly crazy productions to their amazed contemporaries as what they called ‘an inner experience’. Thus they forestalled all adverse criticism at very little cost indeed. Of course nobody ever doubted that there could have been inner experiences like that, but some doubt ought to have arisen as to whether or not there was any justification for exposing these hallucinations of psychopaths or criminals to the sane portion of human society. The works produced by a Moritz von Schwind or a Bocklin were also externalizations of an inner experience, but these were the experiences of divinely gifted artists and not of buffoons.

This situation afforded a good opportunity of studying the miserable cowardliness of our so-called intellectuals who shirked the duty of offering serious resistance to the poisoning of the sound instincts of our people. They left it to the people themselves to formulate their own attitude towards his impudent nonsense. Lest they might be considered as understanding nothing of art, they accepted every caricature of art, until they finally lost the power of judging what is really good or bad.

Taken all in all, there were superabundant symptoms to show that a diseased epoch had begun.

Art World Shakeup: Painting by Adolf Hitler Sells for Three Times a Picasso

Further proof that World War II and NS artifacts are on fire in the collectors world, a watercolor painted by Adolf Hitler before he became Germany’s Führer sold at auction for $35,235, three times the winning bid of an original Picasso drawing. 

(Washintgon Examiner)

The watercolor of one of Vienna’s oldest Gothic churches, Maria am Gestade, sold for nearly twice the expected bid prior to the auction at Alexander Historical Auctions in

Chesapeake City, Md., an international seller of historical artifacts and autographs. The painting was signed “A. Hitler.” It sold for more than three times the $9,500 winning bid for an original Picasso sketch, a whimsical signed drawing in red crayon on the cover of catalog of his works printed in 1931. Alexander Historical Auctions President Bill Panagopulos told Secrets that the painting is headingto England.

In his auction catalog, he described the painting: “Hitler took great liberties in this work, straightening the alleyway, narrowing the church’s exterior walls, and placing buildings closer together. The human figures are virtually identical to those often seen in Hitler’s paintings: elongated or amorphous figures poorly represented in every respect. Hitler painted this now de-consecrated church several times, from different perspectives.”

Hitler and Third Reich artifacts have been jumping in price recently, even as the dollar gets stronger, he said. For example, the Hitler watercolor was the latest Panagopulos has sold in recent years, with each winning a higher bid that the previous.

Eager buyers are in China, Australia, New Zealand and Thailand where the new fashion rage is “Hitler chic.”

Marble Bust of Adolf Hitler Discovered in Poland

Polish construction workers have dug up a marble bust of Adolf Hitler by one of the Third Reich’s official sculptors during work at a museum in Poland.

Measuring 50 centimetres in height, the bust by sculptor Josef Thorak was buried in the ground and was hit by a shovel during work in the interior garden of the National Museum in Gdansk, the sculpture department says.

“We can see it was hidden on purpose,” he told AFP of the bust signed Thorak and dated 1942.

“It’s an important sculpture because we didn’t know it existed. Thorak was a gifted sculptor and we can see that he did a good job.”

Gdansk, or Danzig in German, was a free city between the two world wars, with mostly German residents. The building where the bust was found was at the time home to the municipal museum.

“The bust was perhaps part of the (museum) director’s office furnishings, but it’s still too early to tell,” Lopuski said.

“We still don’t know whether it will go on display. It’s a delicate issue.”

(Yahoo News)