“I mean by a picture (or painting) a beautiful romantic dream of something that never was, never will be – in a better light than any light that ever shone – in a land no one can define or remember, only desire – and from forms divinely beautiful.” ~ Burne-Jones
When I read that sentence, I almost fainted. I was a sensitive girl, given to fits of swooning at the slightest opportunity. It was then I realized there was no real difference between poetry and painting, between painting and music. All, in their own ways, sought for God – albeit a God who might not exist – but a God nonetheless. God was beauty. God was longing. God was the fire in the rose.
The question we need to ask is: Who runs the Art Market and how did it become a freak circus?
Art, I found out later, was about making money. Organized Jewry taught me this. Art dealer Paul Rosenberg says, “A painting is only beautiful when it sells.”
Art Should Make You Miserable
Since Darwin and Freud, there has been a complete “revaluation of all values.” Everything has been turned upside down. We can mostly attribute this parlous state of affairs to the machinations of organized Jewry, in particular to a group of revolutionary thinkers known as the Frankfurt School.
Just as one of these Frankfurters, Theodor Adorno, set out to destroy Western music, assuring the world that atonal music was a good thing because it was discordant and ugly, others in the group set out to destroy art and push it to its reductio ad absurdum.
One of the founders of the Frankfurt School, Georg Lukács, asked rhetorically, “Who will save us from Western civilization?” He began the rescue operation himself, convincing himself that the best way to do this was to create “a culture of pessimism” and “a world that has been abandoned by God.”
Marxist revolutionary Willi Munzenberg made no bones about his mission in life. It was to destroy Western civilization. No kidding. To accomplish this, he said, the Frankfurters would have to “organize the intellectuals and use them to make Western civilization stink. Only then, after they have corrupted all its values and made life impossible, can we impose the dictatorship of the proletariat.”
To summarize: Let’s create a culture of pessimism. Let’s make Western civilization stink. Let’s create a godless world and drive people to despair. Let’s corrupt society’s values and make life impossible. In short, let’s create hell on earth.
I hate to tell you this, but if you like modern art there has to be something radically wrong with you. To feel hostile towards it is as natural as being repelled by incest.
Modern art is out to corrupt you.
If it doesn’t do this, it will have failed to achieve the primary purpose of its elitist promoters. It will have failed to undermine traditional values. It will have failed to produce a “culture of pessimism.” It will have failed to destroy the sacral core of life. It will have failed to poison your mind and give you the sickness unto death. It will have failed to make you what Big Brother finally managed to make Winston Smith in Orwell’s 1984: “a mindless zombie.”
Bending Art to Jewish Abilities
All art henceforth was to be “Jewish”. It would break free from its Christian roots. Whatever Jewish artists were good at, that would be the art of the future. If Jews were no good at drawing, good drawing would no longer be necessary. Representational art was out, abstract and conceptual art was in. Actual unmade beds, not pictures of them, now became works of art. Marcel Duchamp’s famous urinals — bought in a store and transported to an art gallery where they were magically transformed into works of art. Cans stuffed with the artist’s own excrement. Photos of crucifixes stuck in glasses of the artist’s own urine.
Marcel Duchamp’s Fountain (an upside-down urinal), photographed in 1917 by Alfred Steiglitz, an early 20th-century Jewish photographer and promoter of modern art…. “It does not take much stretching of the imagination,” gushes Calvin Tomkins, art critic of the New Yorker, “to see in the urinal’s gently flowing curves the veiled head of a classic Renaissance Madonna or a seated Buddha.” In 2004, this inspired pissoire was voted Most Influential Work of the 20th century by 500 “art experts.”
In order to succeed in this difficult profession of art, the visually challenged Jews had to “bend art to fit their abilities.” It is as if, unable to excel at athletic prowess, the Jews had somehow managed to gain control over the Olympic Games and decreed that, from now on, sprinting and marathon running were no longer important. What really mattered was winning the sack race or the Spitting Competition — accomplishments, possibly, which Jews were particularly good at!
The Jews of course don’t wish to acknowledge this. To suggest that they tend to make lousy artists is anti-Semitic. If Jews didn’t make more of a splash as artists in past ages, it is argued, it was because they were “held back” by their Christian oppressors. Unfortunately for the Jews, the great Berenson will have none of this argument. “The Jews have displayed little talent for the visual,” he states tersely, “and almost none for the figure arts.”
How, then, you might wish to know, are there so many Jewish artists around nowadays? To what can we attribute this fantastic efflorescence of sudden Jewish pictorial genius? The answer, we are told, lies in Jewish networking and hustling: Jewish predominance in the mass media, Jewish economic dominance of the art world, Jewish power, Jewish money.”
How Anyone Can Be Famous
Andy Warhol once said that everyone in the future will be “world-famous for fifteen minutes.” What he failed to point out was that almost anyone, including the village idiot, can be made into a celebrity with the help of public relations. All it takes is constant attention in the mass media.
Let me ask you a question. If someone tried to sell you his excrement for $10, would you buy it? Probably not. Well, consider this: on May 23, 2007, a can labeled Artist’s Shit, purportedly containing the excrement of artist Piero Manzoni, was sold at Sotheby’s for €124,000 (US$ 180,000).
How is it done? Is a can of shit worth its weight in gold? It obviously is — if people are fighting to buy it.
A larger question: If you can con people into buying shit, can you also con them into evil wars in the Middle East and mass cultural suicide in their own homelands? Nothing easier. It’s being done right now.
Talent helps, but is it essential?
You will be surprised to learn that some Jewish artists, despite Berenson’s sweeping dismissal of their visual abilities, are actually quite good at painting. For example, Modigliani and Chagall. Shamir attributes some of their excellence, however, to the influence of Christianity. These two Jewish artists became Christians. This helped, Shamir thinks, to make them good painters. At least they had something to say now. Life had taken on a new meaning. They weren’t just scratching their existential sores and whining “God is dead!”
On the other hand, there were other artists who remained firmly within the Jewish camp and managed to distinguish themselves: notably, Pissarro (impressionist), Soutine (expressionist), Max Ernst (surrealist), and Tamara de Lempicka (art deco). To succeed as an artist in the new milieu, it helped if you were Jewish. Thus both Frida Kahlo and Gustav Klimt arguably owed their initial success to the fact that everyone thought they were Jewish. They were not, but somehow managed to give that impression.
The successful contemporary artist needs to be a person devoid of moral scruples. Confidence trickster, hustler, prostitute, pimp, he needs to mix with the right crowd and know whom to cultivate. “The artist who would be known,” wrote the great folklorist Joseph Campbell, “has to go to cocktail parties to win commissions, and those who win them are not in their studios but at parties, meeting the right people and appearing in the right places.” Campbell was later accused of anti-Semitism, but Jewish artist Julian Schnabel backs up Campbell’s claim. “Much time is spent nurturing liaisons with creatures of the art world,” he notes gloomily. “There is no time for friendship. Later, there is no capacity for it.”
Let art critic Clement Greenberg have the last word: “I’ve decided the kind of people attracted to art are often psychopaths. You can quote me on that.”
Leonardo must be turning in his grave…..