The Battle for Art

From a speech dedicating the House of German Art, Adolf Hitler condemns modern degenerate artists;

“And what do they fabricate? Deformed cripples and cretins, women who inspire nothing but disgust, human beings that are more animal than human, children who, if they looked like this, could be nothing but God’s curse on us! And these cruelest of dilettantes dare to present this to today’s world as art of our time, as the expression of what our time produces and of what gives it  its stamp. Let no one say these artists depict what they see. Among the paintings submitted for this exhibition, there were many works that would actually lead us to believe that there are people who see things diferently than they are, that there really are men who see the present-day figures of our people only as degenerate cretins – men who are determined to percieve, or, as they would say, to experience, meadows as blue, skies as green, and clouds as sulphur yellow. I so not intend to debate whether these individuals do in fact see and percieve in this way, I mean to forbid these pitiable unfortunates, who clearly suffer from visual disorders, from attempting to force the results of their defective vision onto their fellow human beings as reality or, indeed, from serving it up as art.

There are only two possible explanations. Either these so-called atists really see things this way and believe thay are representing things the way they are. If this were so we would only have to determine whether their faulty vision is due to a mechanical failing or a congential defect. In the case of the first, we can do nothing but feel sorry for the afflicted; in the second, it would be the reponsibility of the Reich Ministry of the Interior to consider preventative measures that would spare later generations from inheriting such dreadful visual defects. The other explanation is that these “artists” themselves don’t believe in the reality of what they depict but have other reasons for imposing this hoax on the nation. In this case, they are liable to prosecution under criminal law.”

not art but worthless defective junk

 
 

National Socialist Art of the Third Reich - true classic art.


30 responses to “The Battle for Art

  • Niebo

    “The Jew brought about the same inversion in music, replacing the loveliness of music with sounds.” -Hitler/Bormann

  • Sylla

    the purpose of art is NOT to picture empiricist reality but to create pure archetypes, in order for people who are lost in the chaos of their everyday life and are subjected to constant bombardment with the most despickable of contents, to have a focus and an aspiration.

    Art should embody an ideal, not twist or interpret reality in any way shape or form, be it more positive or more negative!!

  • Niebo

    My mistake, the quote says:
    *…replacing the loveliness of music with noises.”

    In Zion, we can see this degenerate “art” as the enemies weaponry.

    Inane noises assault us, played over the loudspeakers at our sporting events.

    Quite literally, there are heaps of twisted metal positioned in our parks that are called “art’ and they are protected by the ziobots.

  • Niebo

    A perfect example is “jump around” by house of pain. Might sound silly, but I hear it at every sports event I go to and its just awful.

  • aufihrhelden

    What this degenerate ‘art’ also achieves (in the eyes of The Jew) is to create a type of ‘isolationism’ for those few who can see it in its true degenerate form. By this, I mean that all the Jews need to is to present piles of crap in a modern ‘art’ gallery and the gullible masses will lap it all up by accepting it and promoting it which then completes the insidious effect that the Jews wished for ; those few who are not swayed by this then become isolated in this kind of society (art is but one example).

    A ‘layman’ may walk into a modern ‘art’ gallery and (perhaps being the type to speak his mind) may anounce in a loud voice, ‘This is an absolute load of utter garbage’, with perhaps the odd profanity thrown in. This would offend the sensibilities of the ‘liberals’ who, deep down, must probably feel a deep sense of insecurity so, as they’ve been told that ‘this unmade bed or giant fish has lots of really deep meanings’ by their magazines or television sets then, to remain true to the characters with which they’ve been assigned by their favourite magazines they reject most strongly this ‘uncouth barbarian’ who does not really belong in our ‘progressive modern societies’.

    They also like to morph it into a question of ‘maturity’ rather than a question of logic and reasoning – those who are ‘progressive’ and ‘forward thinking’ and ‘innovative’ individuals are really, really MATURE in capital letters as they are able to ‘accept progress’ (who’s progress ?) in the form of tins of paint thrown against a wall or a great lump of metal in a town square. Those who speak out against such degeneracy are perceived as and rendered as suffering from a kind of ‘immaturity’ as this term (used here as an example of false rhetoric) renders all valid arguments based on facts as being irrelevant – anybody that ‘cannot appreciate it’ needs to just try and ‘grow up and accept it and move with the times’ (who’s times ?). End of argument.

    It’s similar to the mass media where the pundits are told when to laugh, when to look serious, when to look horrified and so on – there’s a thousand different things flashing on the screen at the same time and the Jew pulls the strings and turns the levers in the minds of all the masses.

    Adolf Hitler’s paintings, by the way, were beautiful.

  • aufihrhelden

    ‘But just as, favoured by the total anarchy of modern art conditions, the mime has succeeded in making himself Lord of the Theatre, so the common musician, profiting by a very different set of circumstances, has succeeded in placing himself top of the tree, flapping his trade-guild mastership in the face of the art-genius, and giving himself the airs of sole proprietor of Music. The difference between these two revolts lies in the diversity of the ground usurped : the mime was able to dominate the Theatre because he there could exercise a blindingly popular function, and directly lead astray the public’s verdict on dramatic art ; the musician, of the kind to which we will devote our prompt attention, had to devise for himself the Concert-room, and assemble round him, no public proper, but a species of conventicle, in order to pass for an art-genius. Through what peculiar attribute of Music’s it became possible to fool and misguide the various local conventicles of Concert-subscribers, belongs to a future special inquiry ; as we are concerned today with nothing but the musician’s social physiognomy, so to speak, we will content ourselves with signalising the personal means he has employed for his end.’

    – Richard Wagner, Art and Politics.

  • aufihrhelden

    Finale to ‘Die Meistersinger von Nurnberg’ :

    Sachs (going towards Walther and grasping him meaningfully by the hand) :

    Scorn not the Masters, I bid you,
    and honour their art !
    What speaks high in their praise
    fell richly in your favour.
    Not to your ancestors, however worthy,
    not to your coat of arms, spear or sword,
    but to the fact that you are a poet,
    that a Master has admitted you,
    to that you owe today your highest happiness.
    So, think back to this with gratitude :
    how can the art be unworthy
    which embraces such prizes ?
    That our Masters have cared for it
    rightly in their own way,
    cherished it truly as they thought best
    that has kept it genuine :
    if it did not remain so noble as of old,
    when courts and princes blessed it,
    in the stresses of evil years
    it remained German and true ;
    and if it flourished nowhere
    but where all is stress and strain,
    you see how high it remained in honour ;
    what more do you ask of the Masters ?
    Beware ! Evil tricks threaten us :
    if the German people and kingdom should one day decay
    under a false, foreign rule,
    soon no prince will understand his people any more,
    and foreign mists with foreign vanities
    they will plant in our German land ;
    what is German and true no one would know any more,
    if it did not live in the honour of the German Masters.
    Therefore I say to you :
    honour your German Masters !
    Then you will conjure up good spirits ;
    and if you favour their endeavours,
    even should the Holy Roman Empire dissolve in mist,
    for us there would yet remain
    holy German art !

    (During the following Eva takes the wreath from Walther’s head and palces it on Sachs’s ; he takes the chain from Pogner’s hand and outs it round Walther’s neck. After Sachs has embraced the young couple, Walther and Eva lean against Sachs, one on each side ; Pogner sinks on his knee before him as if in homage. The Mastersingers point to Sachs, with outstreched hands, as to their chief. All those present – finally also Walther and Eva – join in the people’s song).

    The People :

    Honour your German Masters,
    then you will conjure up good spirits ;
    and if you favour their endeavours,
    even should the Holy Roman Empire dissolve in mist,
    for us there would yet remain holy German art !

    (While the apprentices clap their hands and shout and dance, the people wave hats and kerchiefs in their enthusiasm).

    Hail, Sachs !
    Nuremberg’s dear Sachs !

  • aufihrhelden

    ‘If I am correctly informed, my thoughts on “Religion and Art” have found no unfavourable reception with our readers. As we take our stand upon the field of Art, and only from that base do we attempt to find a right and reason for exploring the remotest regions of the world, our friends might certainly deem it fittest, and even most agreeable, if we always placed Art or one of its special problems in the foreground. Only, it has been borne in upon me that, just as in the proposed Buhnenfestspiels, and the house expressly planned and built therefor at Bayreuth, I had to gain myself a basis for the right performance of my artistic works, so for Art itself, for its proper standing in the world, a new soil must first be won; a soil that cannot
    be supplied, in the first place, by Art itself, but by the world—that selfsame world to whose familiar understanding it is to be offered. For this we had to take our general state of culture, our Civilisation, and try how it might look reflected in our floating ideal of a noble art: but the mirror stayed dark and featureless, or gave us back a grinning parody of our ideal. So we will lay aside the mirror, for our next day’s march, look eye to eye upon the carking
    world, and tell ourselves without disguise or terror what we think of it.’

    – Richard Wagner
    ( from the ‘Introduction to Count Gobineau’s “Ethnological
    Résumé of the Present Aspect of the World”‘ – Bayreuther Blätter, May-June 1881.)

  • aufihrhelden

    Art of The Third Reich :

  • aufihrhelden

    Ludwig van Beethoven – Coriolan Overture :

  • aufihrhelden

    Canaletto :

  • delendaestziobot

    Wagner was the prophet of God on Gerda. The true Prophet! Nietzsche was not fit to even carry his bags let alone dispute Him. The Third Reich Pilgrim will be visiting Bayreuth in 2016.

  • aufihrhelden

    Arno Breker – Master Sculptor of the Third Reich :

  • delendaestziobot

    I have been informed that Herr B has retired and the Arno Breker Museum is no longer what it was. Castle Norvenich, which I wrote about in Third Reich Pilgrim has been depleted of its major Breker statues. The major statues in the garden were on loan from the Breker family and they have taken them back, they are now kept in private and can no longer be seen. I was told by Herr B in 2011 that he was not going to be able to keep it going for much longer due to increasing pressure from the Germans who want to destroy any last remnants of the Third Reich. Another example of this is Vogelsang SS Castle which is now a Refugee Camp…..The total destruction of Germany continues unabated, increasing evermore with each passing year. As I wrote in Part I, that Germany is no longer Germany but is merely just another assimilated corporate entity, this is even more true now in 2016.

  • aufihrhelden

    This was, of course, inevitable because it is the way that the Imbeciles of Zion work. The inadequate Masses don’t want such magnificent works to be viewed. The British and American people probably issued a death threat to the Breker family. So since the publication of ‘Third Reich Pilgrim’, the Ehrentempel have been desecrated, Dietrich Eckart’s grave has been desecrated, Schloss Norvenich has been stripped and Vogelsang is a refugee camp. Be in no doubt that they plan to destroy the remaining ruins at Nuremberg, pour oil into the Königssee and the Obersee, dismantle the stones at Externsteine, dig up Wewelsburg and blow up the Eagle’s Nest. No doubt they are working through the book. This will all be blamed on ‘The Muslims’ because the Zionist cretins think that they need to think up a reason for it all.

    See everything, hear everything, note everything, know everything THEN, when the ‘White Race’ (the entire English and French speaking people’s) have been lasered from the face of the earth, tell all to the New Ehrean Race to come.

    • M:G

      The viciousness and ludricrousness of the zio-masses knows no bounds. The zio-masses sense of self perception and self esteem are being reduced to nothingness once they stepped on the ruins of Nuremburg or by mere glancing at the magnificent statues of Arno Berker. Deep inside, they are aware that they are a complete disastrous zero, as compared to the divine light of the angelic ehrean, that’s the reason why they are in a frantic effort to erase all physical memories and reminders of the Third Reich. But these zio-morons do not realize that the true Reich is eternal, transcendent and immortal ; their pathetic zio-existence is as insignificant as a second or a flicker of a dim candle.

      • M:G

        When all the statues of Arno Berker and the artwork of Third Reich are completely destroyed, all that is left is the soul-killing noise and the thrashy ” avant garde”, “progressive” “art” that are being displayed in modern art museums and exhibitions. Only the pea-sized intelligence and single digit IQ of the ziobots are capable of these. Worst of all, these garbage are being forcefully shoved down our throats.

      • M:G

        Comparing the paintings done by Hitler and Jackson Pollock, Hitler demonstrated far more talented and polished technical skills than Pollock nonsensical drip painting style, that could be accomplished by any 1st grader. Comparing the works of Wagner, Beethoven and Mozart to today’s MTV is like placing monkey and apes with gods and Titans, side by side.

      • delendaestziobot

        Jackson Pollack is a great example of a Gentile working with a Jew – his Jewish girlfriend whom he lived with – they have a symbiotic relationship – the Jew and the Gentile, they love each other and can never be parted, they only produce their utter garbage when they work together, alone they would both just sit there and do nothing, just shrivel up and die….The Jew needed a Gentile to actually open the paint tins, lay out the canvas and dribble the paint and then clean up afterwards, but the Jew paid for all the materials and directs the work, the Gentile was required to actually physically do it, otherwise it could never be done, not even dribbling paint can be done, except if the Jew and Gentile work together….Like Fischer and Spassky, it takes two, a Gentile and Jew.

  • aufihrhelden

    Beethoven – 7th Symphony, Movement II :

  • aufihrhelden

    For some truths regarding the great Wolfgang Amadeus Mozart read ‘MANU – For The Man To Come’ by Miguel Serrano :

    https://delendaestziobot.wordpress.com/hermitage-helm-corpus/

  • aufihrhelden

    Franz Schubert – Ave Maria :

  • aufihrhelden

    Parsifal and the Grail Knights :

  • aufihrhelden

    Beethoven – Overtures :

  • aufihrhelden

    Ramsau bei Berchtesgaden, Germany :

  • Rohan

    ”The true artist understands that art is the step towards reality, that pointing to the path indicates to him to pass beyond the art, to realize itself in the reality. It is the understanding of the possibility of the magician. It is desired to establish in reality what has been glimpsed in art.” – Miguel Serrano

  • aufihrhelden

    Arno Breker : Aryan Aesthetics of National Socialist Germany :

  • aufihrhelden

    Johann Sebastian Bach – Matthäus-Passion – BWV 244 No. 68:

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