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Old November 1st, 2005 #1
lawrence dennis
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Default Jews in Art

Creating Jewish-'American' Culture
Quote:
The Jewish visual culture in America is a bridge in its efforts to adopt and adapt to the mainstream. This visual presentation focuses on the origins and development of this 'culture' in the United States.

This first presentation begins with the richness of the Jewish community in Spain, from which the Jews were expelled in 1492. They went to many places, including the New World, arriving in New York a hundred and fifty years later. By the mid-eighteenth century, the Jews established their first American synagogue, in Newport, Rhode Island. An American born Sephardic Jewish silversmith (Myer Myers), who apprenticed under Paul Revere, created rimonim for their Torahs.

In the nineteenth century, a Jewish-American artist and photographer (Solomon Carvalho) accompanied John Fremont on his western expedition seeking a route for the cross-country railroad. Another Jewish-American artist (Moses Ezekiel) fought in the Civil War and studied sculpture in Europe, creating major works for American sites.

By the turn of the twentieth century, some Jewish-American artists went to Europe to study in the School of Paris, and were excited by the avant-garde modernist art in painting, sculpture, and photography. The individual responsible for introducing the most advanced European art to America and for bringing photography to the level of fine art was a Jewish-American artist, Alfred Stieglitz.

Around the same time, the largest influx of Jews to America came from Eastern Europe. Their artworks reflected their memories and their experiences. The Depression and looming war in the 1930s impacted Jewish-American artists in a powerful and poignant way. Their works emphasize the social conditions of that time. Many European Jewish artists found safe haven in the United States during the war, and used their unique approach to highlight the events occurring in those war-torn lands.

This continuing presentation investigates the artworks of Jewish-American artists after World War II. At that time, the international center of art shifted from Paris to New York City and Jewish-American artists were leaders in the new aesthetic movements. From the first female sculptor and president of Artists Equity (Louise Nevelson) to the internationally acclaimed abstract expressionist painters (Mark Rothko, Barnett Newman, Adolph Gottlieb), the frontiers were wide open for new aesthetic approaches. Jewish-American artists were in the forefront, from second generation abstract expressionists (Helen Frankenthaler) to photographers (Diane Arbus, Richard Avedon), to Pop Art (Roy Lichtenstein) and sculpture (George Segal), to the individual thrusts of post-modernism (Ken Aptekar, Ida Applebroog, Barbara Kruger)....
Jewish-'American' Artists
Quote:
This visual program focuses on the historical development of American Jewish artists, such as:

Meyer Myers, an 18th c. goldsmith

Moses Ezekiel, a 19th c. sculptor

Solomon Carvalho, a 19th c. photographer

Henry Mosler, a 19th c. painter


and many different 20th c. painters, sculptors, and video artists, such as:

Alfred Stieglitz, photographer
Sir Jacob Epstein, sculptor
Raphael and Moses Soyer, painters/printmakers
Elie Nadelman, sculptor

Max Weber, painter

Philip Evergood, painter

William Zorach, sculptor

Arthur Szyk, painter/illustrator

Gertrud and Otto Natzlers, ceramicists

Alfred Eisenstadt, journalist photographer

Roman Vishniac, 'Holocaust' photographer

Richard Avedon, fashion photographer

Diane Arbus, photographer
Aaron Siskind, photographer
Ad Reinhardt, painter
Philip Guston, painter
Morris Louis, painter

Jules Olitski, painter

Roy Lichtenstein, painter

Miriam Schapiro, painter

Audrey Flack, painter
Judy Chicago, painter
Jim Dine, painter

Ida Applebroog, painter

Jerome Witkin, painter
Ken Aptekar, painter

These creative individuals all show aspects of their world in their own special way. [Something of an understatement. --L.D.]
Jewish Women Artists
Quote:
This slide lecture examines the various art forms created by Jewish Women artists. Their art reflects their unique life experiences, particularly as they reacted to the culture and the times in which they lived. From painters to sculptors, printmakers and photographers, these artists expressed the best of themselves and their artistic skills. Their art displays their concerns for social equality as well as time bound aesthetic issues, particularly during the Modernist era (1900-1980).

This program consists of works by :

Gertrud Natzler, ceramicist
Anni Albers, weaver

Sonia Delaunay, designer

Louise Nevelson, sculptor
Eva Hesse, sculptor

Painters:
Helen Frankenthaler
Lee Krasner
Frida Kahlo
Miriam Schapiro
Deborah Kass
Ida Applebroog
Judy Chicago
Malcah Zeldis
Nancy Spero
Susan Rothenberg
Audrey Flack

Photographers:
Diane Arbus
Cindy Sherman

Annie Leibovitz


Post-Modernists:
Eleanor Antin
Barbara Kruger
Jenny Snider
__________________

How is the faithful city become an harlot! It was full of judgment: righteousness lodged in it, but now murderers. Thy silver is become dross, thy wine mixed with water. Thy princes are rebellious, and companions of thieves: every one loveth gifts, and followeth after rewards.

Xian WN!

"The Jew can only be understood if it is known what he strives for: ... the destruction of the world.... [it is] the tragedy of Lucifer."

Holy-Hoax Exposed, Hollow-Cost Examined, How Low Cost? (toons)

Last edited by lawrence dennis; November 1st, 2005 at 05:19 AM. Reason: new title
 
Old November 1st, 2005 #2
lawrence dennis
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Default More Jew 'artists' and photographers

Jewish-'American' Artists and Genesis
Quote:
...the varied responses to biblical text by Jewish-American artists.... The artistic approaches reflect and incorporate the cultural milieu and specific experiences of these artists. This presentation includes works by:

Ida Applebroog
Leonard Baskin
Sir Jacob Epstein
Philip Evergood
Helen Frankenthaler
Adolph Gottlieb
Chaim Gross
Philip Guston
Jack Levine
Harry Lieberman
Jacques Lipchitz
Seymour Lipton
Barnett Newman
Archie Rand
Susan Rothenberg
Mark Rothko
Ben Shahn
Miriam Schapiro
Susan Schwalb
Elbert Weinberg
William Zorach
Jewish-'American' Artists & World War II
Quote:
From "The Degenerate Art Show" of 1937 to contemporary times, artworks included are by:

Leonard Baskin
Jonathan Borofsky
Marc Chagall
Judy Chicago
Philip Evergood
Audrey Flack
Leon Golub
Jack Levine
Sol LeWitt
Jacques Lipchitz
Seymour Lipton
Barnett Newman
Abraham Rattner
Larry Rivers
Mark Rothko
George Segal
Ben Shahn
Art Spiegelman
Roman Vishniac
Max Weber
Jerome Witkin

These artists synthesized events through their perspectives, revealing their angst and their unique place in American life.
Jewish-'American' Photographers
Quote:
"Photography is about death," wrote Roland Barthes... For Jewish photographers, this is a powerful and important aspect.

In the early nineteenth century, the first Jewish-American photographer, Solomon Carvalho, was born into a Sephardic family in Charleston, South Carolina. He was a painter and daguerreotypist, best remembered for accompanying John Charles Fremont on his expedition to the West....


In the mid-nineteenth century, in Hoboken, New Jersey, Alfred Stieglitz was born into a family who came from Germany. He was passionately interested in the changing qualities of nature, particularly clouds, and his photographs captured the transcendent characteristic of his environment. He is best remembered for introducing the most advanced European art to America and for bringing photography to the level of fine art.

Paul Strand, who came from a family recently arrived from Bohemia, was a disciple of Stieglitz. His devotion to America and to cultural pluralism was a guidepost in his aesthetic development. In the 1930s, he was strongly affected by conditions in the western United States, and even moreso, by the events in the Eastern Europe. In the 1950s, he was cited as "subversive" and "un-American" by the Attorney General of the United States.

Born in Kovno, Lithuania, Ben Shahn came to America when he was five years old. He trained as a lithographer and became a painter and photographer. In 1932, he discovered the newly created handheld camera, which gave him the opportunity to document the Lower East Side of New York City and its primarily Jewish population. Later in the decade, he employed art to promote social change. Through his photographs around New York and later in rural America, he documented the living conditions in the hope that this kind of visual education would bring about change.

This part begins with the photographs of Roman Vishniac. He took surreptitious photographs throughout Eastern Europe, documenting a life that was soon to disappear. Trained as a biologist, he became a linguist, art historian, and philosopher renowned for his photomicroscopy of living organisms. [Wow! 'Biologist, linguist, art historian, and philosopher,' thanks to a little help from his tribe in academia and media, no doubt. --L.D]


At the same time, a Jewish photographer from West Prussia, Alfred Eisenstaedt served in the German army during World War I. Due to the rise of Naziism, he immigrated to New York in the mid-1930s and became the father of photojournalism. His photographs have reached far greater numbers of people than most other photographers.

Weegee (aka Arthur Fellig) was born in a shtetl in the Ukraine whose population was one-third Jewish, but came to the United States when he was eleven. Pursuing a somewhat different direction, Weegee photographed the seamier side of life in New York City. He took images of auto accidents, disasters, fires, traumas, and the irony of life. He visited Alfred Stieglitz, with whom he shared the role of seeker of invisible images. Stieglitz sought exaltation while Weegee reveled in shock tactics.

One of the photographers Weegee who shared membership with Weegee in the Photo League was Lisettte Model. She was born in Vienna and studied music, before turning to photography. Her photographs were analytical approaches to people "on the edge," especially those at the extremes of economic distress, chronological age, and physical disability....
__________________

How is the faithful city become an harlot! It was full of judgment: righteousness lodged in it, but now murderers. Thy silver is become dross, thy wine mixed with water. Thy princes are rebellious, and companions of thieves: every one loveth gifts, and followeth after rewards.

Xian WN!

"The Jew can only be understood if it is known what he strives for: ... the destruction of the world.... [it is] the tragedy of Lucifer."

Holy-Hoax Exposed, Hollow-Cost Examined, How Low Cost? (toons)
 
Old November 1st, 2005 #3
lawrence dennis
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Default Let's have a look at the artistic genius of jewess Helen Frankenthaler

Helen Frankenthaler
Quote:
One of the defining artists of American Abstract Expressionism, Frankenthaler was born in New York in 1928. Trained at Bennington College and with Wallace Harrison and Hans Hofmann, Frankenthaler is concerned with developing a close relationship between image and surface and with the specifics of the medium of paint. One of Frankenthaler's favored techniques, staining the canvas with the pigment and allowing the different layers to show through, has become a quintessential characteristic of Abstract Expressionism in general, and her work in particular.

CONNECTED BY JOY, 1967-70, Etching with aquatint 16.5 x 21 inches Ed/27, $9,000.

[ Of course, to the untrained (and untrainable) mind of the stupid goy, this might look like three large turds connected with red, yellow, and blue lines. But only the superior jewish brain coupled with advanced aesthetic education can see the subtlety, the hidden beauty, and the ultimate final auction price (after the artists dies). Lest a foolish goy thinks he can produce work of this high caliber, remember that the keen eyes of jew art collectors, jew art critics, jew gallery owners, jew art agents, jew art publishers, and jew curators can immediately spot clumsy gentile attempts to emulate jewish masters. --L.D.]

More of Frankenthaler's artistic genius:



SNOW PINES, 2004
34-color Ukiyo-e woodcut, printed with 16 woodblocks
37.5 x 26 inches Ed/65
$25,000.




Artist:
Helen Frankenthaler Title: Untitled Year: 1996
Medium:
acrylic on paper Size:
76.5 x 58.0 cm


Black Sun Drawing with Red, 1960, oil on paper, 14 x 23"
__________________

How is the faithful city become an harlot! It was full of judgment: righteousness lodged in it, but now murderers. Thy silver is become dross, thy wine mixed with water. Thy princes are rebellious, and companions of thieves: every one loveth gifts, and followeth after rewards.

Xian WN!

"The Jew can only be understood if it is known what he strives for: ... the destruction of the world.... [it is] the tragedy of Lucifer."

Holy-Hoax Exposed, Hollow-Cost Examined, How Low Cost? (toons)

Last edited by lawrence dennis; May 10th, 2006 at 12:49 AM. Reason: corrected broken links
 
Old November 1st, 2005 #4
albion
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Default Arthur Fellig - "Weegee"

Quote:
Weegee photographed the seamier side of life in New York City. He took images of auto accidents, disasters, fires, traumas, and the irony of life.
"Mother and Son"


"This boy was arrested for dressing like a girl", c. 1939
Stephen Cohen Gallery
 
Old November 1st, 2005 #5
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'Man Ray spent much of his time fighting the formal constraints of the visual arts.'

like taste, talent and skill.
 
Old November 2nd, 2005 #6
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I have found that the simplest way to express to a person not aware of it, the different conceptions of beauty that the White mind and the Jewish mind have is to do a simple google image search.

For the first example,
search
1st) War Memorial
&
and 2nd) WWII Memorial.

For the Jewish example,
search, Holocaust memorial.

The results speak for themselves.
I ask anyone who continues to perpetuate the meme that jews are just like Whites to explain the difference of interpretation of events that happened at the same period in history.
 
Old November 2nd, 2005 #7
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You're right. The recurring theme is the reincarnated zombie.


Here's a typical dignified Anglo Saxon memorial:


and here's a selection of jewish memorials:

The Pile of Bodies.


The Evil Dead


The Night of the Living Dead


Foundations For a Car Park


Zombie Creeping Flesh Themepark (Concept)


Zombie on a Tree.
 
Old May 8th, 2006 #8
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Frank Auerbach
 
Old May 10th, 2006 #9
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Quote:
Originally Posted by Stronza
I see that Barnett Newman is on the list of jewish "artists". This brings to mind the firestorm of complaint & controversy that occurred in Canada when the National Gallery of Canada paid $1.8 million (that's taxpayers' money) for a piece of merde called, I think, Voice of Fire. This work of art consisted to 3 vertical stripes on a large canvas about 18 ft. X 8 ft. That's it, folks. 3 stripes.
They always drink deeply , from the TAX well . Martin Luther wrote about this 500 yrs ago. The methods change , slightly .
 
Old May 12th, 2006 #10
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Quote:
Originally Posted by Stronza
I see that Barnett Newman is on the list of jewish "artists". This brings to mind the firestorm of complaint & controversy that occurred in Canada when the National Gallery of Canada paid $1.8 million (that's taxpayers' money) for a piece of merde called, I think, Voice of Fire. This work of art consisted to 3 vertical stripes on a large canvas about 18 ft. X 8 ft. That's it, folks. 3 stripes.

Of course, that was 16 years ago. Such controversy would never happen nowadays. We are all here in Absurdistan just too dumbed down, and too afraid of being called ignorant if we can't see the value of kaka.
 
Old May 12th, 2006 #11
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Quote:
Originally Posted by Euronationalist

20 bucks and that's providing that he doesn't drip any paint on the floor .
 
Old May 12th, 2006 #12
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I met a man today who told me that all the artwork of ancient Egypt was done by "The Jews". I laughed in his face. Then I began thinking the Jews now realize everyone is laughing at their crap "modern art" and so they are cooking up (stealing) another artistic accomplishment for themselves. I suppose, if they claim they did all the artwork of ancient Egypt, they could demand Egypt give them back their artworks. Or at least put up memorials to the Jews. Clever!

I tried looking this up on the net, but nobody else seemed to know the theory.
 
Old May 13th, 2006 #13
lawrence dennis
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Quote:
Originally Posted by Euronationalist


The $1.8 million "painting". There are painters and there are decorators.
Artists' works Fire up debate
Quote:
Tue, June 28, 2005 -- Stripes of paint on canvas for $1.8 million, a dress made of rotting meat and a turd-like fibreglass sculpture are among the art pieces in Ottawa that have sparked controversy over the years.

Before the 1960s, most public sculptures in North America were life-like memorials to history, especially war, influenced by classic pieces seen in Europe, writes Calvin McKnight in his 1996 thesis The Urban Landscape: The Place of Art in the Public Interest in the National Capital Region.

But then artists started seeking more meaning, and became concerned with challenging expectations about what public art means and what feelings it should provoke, he writes.

There was lots of animosity towards Edward Zelenak's 1968 piece Traffic, a 32-ft. piece of brown fibreglass and plastic people called "dinosaur dung" or an "intestine" that was acquired by the National Gallery. Zelenak, on the other hand, said it represented the "pent-up energy and inner tension in a traffic jam or a geological fault."

In the 1970s and '80s, the Committee for the Removal of Art Pollution (CRAP) targeted a number of works, and succeeded in relocating Chung Hung's Twelve Points in a Classical Balance from Dow's Lake.

Controversy seems to be almost inevitable here, with the National Gallery of Canada spending large amounts of cash on contemporary or modern artworks not all people understand.

"People can see that their tax dollars purchased that work," says Penny Cousineau-Levine, art professor and chair of the University of Ottawa's visual art department. "Ottawa becomes a target in that way."

That's what happened in 1990 when the National Gallery bought Voice of Fire, a blue-and-red- striped painting, for $1.8 million. The purchase sparked a small cottage industry of striped ties, T-shirts and even a "Donut of Fire."

In 1991, there was more controversy when the gallery displayed Montreal artist Jana Sterbak's Vanitas: Flesh Dress for an Albino Anorectic. The "meat dress" was made of 50 pounds of rotting flank steak to emphasize the contrast between vanity and bodily decay. Hundreds of people protested it by mailing food scraps to the gallery.

Two years ago, the SAW Gallery sought out controversy with its exhibit "Scatalogue: 30 Years of Crap in Contemporary Art." The idea that taxpayers were footing the bill for a display including soiled shorts and shrink-wrapped feces sparked then-Alliance MP Chuck Strahl to call for a review of arts funding in Parliament.
__________________

How is the faithful city become an harlot! It was full of judgment: righteousness lodged in it, but now murderers. Thy silver is become dross, thy wine mixed with water. Thy princes are rebellious, and companions of thieves: every one loveth gifts, and followeth after rewards.

Xian WN!

"The Jew can only be understood if it is known what he strives for: ... the destruction of the world.... [it is] the tragedy of Lucifer."

Holy-Hoax Exposed, Hollow-Cost Examined, How Low Cost? (toons)
 
Old May 13th, 2006 #14
Abzug Hoffman
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Jew (con) artists get rich sucking on the taxpayer's tit. Another one for "The Jews just work harder than everybody else" file.
 
Old June 9th, 2006 #15
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Default Nazi exhibition of 'Degenerate Art' -- The Entartete Kunst exhibit

Degenerate art

The Entartete Kunst exhibit
Quote:
Degenerate art (from the German: entartete Kunst) was the 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 progressive styles of art were prohibited, the Nazis promoted paintings and sculptures that were narrowly traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. They called this style of Romantic realism Heroic art. Similarly, music was expected to be tonal and free of jazz influence; films and plays were censored.

Reaction against modernism

The early twentieth century was a period of wrenching changes in the arts. In painting, such innovations as expressionism, Dada and surrealism, following hot on the heels of symbolism, cubism 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.

Germany had emerged as a leading center of the avant-garde not only in the visual arts but in music as well, giving to the world the atonal compositions of Arnold Schoenberg and the jazz-influenced work of Paul Hindemith and Kurt Weill. Robert Wiene's The Cabinet of Dr. Caligari and Fritz Lang's Metropolis brought expressionism to cinema.

The Nazis viewed the culture of the Weimar period with reactionary disgust. Their response stemmed partly from conservative aesthetic taste and partly from their determination to use culture as a propaganda tool. 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 hung near a label accusing Dix, himself a volunteer in World War I, of "an insult to the German heroes of the great war".

As dictator, Hitler gave his personal taste in art the force of law to a degree never before seen. Only in the Soviet Union, where Socialist Realism was the mandatory style, had a state shown such concern with regulation of the arts.

A constant theme in the Nazi suppression of modern art was the supposed "Jewish" nature of all art that was indecipherable, distorted, or that represented "depraved" subject matter. Such perceived decadence was explained through the concept of degeneracy, which held that distorted and corrupted art was a symptom of an inferior race. 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.

Degeneracy

The term Entartung (or "degeneracy") had gained currency in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book, Entartung. According to Nordau, artists were victims of modern life and suffered from decayed brain centers. Nordau's theory drew upon the writings of the criminologist Cesare Lombroso, [jew alert --L.D.] author of The Criminal Man published in 1876. Lombroso attempted to prove that there were "born criminals", whose atavistic personality traits could be detected by scientifically measuring abnormal physical characteristics. Nordau developed this premise into a critique of modern art, asserting that modern artists suffered from the same atavistic degeneracy as Lombroso's born criminals. For Nordau, all forms of modern art, whether music, poetry, or visual revealed symptoms of mental disorder and nervous excitement. As a result of their corruption and feebleness, modern artists lacked the self-control to produce coherent works. Nordau attacked the Symbolist movement in French literature, describing their mysticism as a product of mental pathology, as well as Aestheticism in English literature and Impressionism in painting (he explained Impressionist painterliness as the sign of a diseased visual cortex). He insisted on the superiority of traditional German culture.

Despite the fact that Nordau was Jewish, his pseudoscientific theory of artistic degeneracy was seized upon by German National Socialists during the Weimar Republic as a rallying point for their anti-semitic and racist demand for Aryan purity in art. Only racially "pure" artists could produce "Heroic Art" which upheld traditional ideals of classical beauty, while modern artists of an "inferior racial strain" produced works which were contorted and decadent due to the influence of modernity.

Alfred Rosenberg was the first to use Nordau's theory in Myth of the Twentieth Century, published in the 1920s, which became a best-seller in Germany. The influential art critic Paul Schulze-Naumberg wrote three books: Art and Race, The Fate of the German House, and The German Art, in which he argued that modern artists unwittingly produced their own racial stereotypes in their artwork. To prove this, he utilized both Nordau's and Lombroso's methodology by placing examples of distortions of the human figure in modern art next to photographs of people with deformities and diseases. Schultze-Naumberg then compared healthy people with examples of the Romantic realism of "Heroic Art" to prove that modern art was an indication of racial impurity.

The Entartete Kunst exhibit

By 1937, this concept was firmly entrenched in Nazi policy, and authorities purged German museums of modern art now condemned as degenerate. Inventory lists indicate that at least 16,500 works were seized. The entartete Kunst exhibit premiered in Munich in March, 1937, and travelled to eleven other cities in Germany and Austria. The show was intended as an official condemnation of modern art, and included over 650 paintings, sculptures, prints, and books from the collections of thirty two German museums. Expressionism, which had its origins in Germany, was especially heavily represented.

The exhibit was held on the second floor of a building formerly occupied by the Institute of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The first sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into it in order to enter. The rooms were made of temporary partitions and deliberately chaotic and overfilled. Pictures were crowded together, sometimes unframed, usually hung by cord.

The first three rooms were grouped thematically. The first room contained works allegedly demeaning of religion; the second featured works by Jewish artists in particular; the third contained works considered insulting to the women, soldiers and farmers of Germany. The rest of the exhibit had no particular theme.

There were slogans painted on the walls:
  • Insolent mockery of the Divine under Centrist rule
  • Revelation of the Jewish racial soul
  • An insult to German womanhood
  • The ideal - cretin and whore
  • Even museum bigwigs called this the 'art of the German people'
Speeches of Nazi party leaders contrasted with artist manifestos from various art movements, such as Dada and Surrealism. Next to many paintings were labels indicating how much money a museum spent to acquire the artwork. In the case of paintings acquired during the post-war Weimar hyperinflation of the early 1920s, when a loaf of bread cost trillions of German marks, the prices of the paintings were of course greatly exaggerated. The entire exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, frequently identified as "Jewish-Bolshevist", although only six of the 112 artists included in the exhibition were in fact Jewish.

It was considered the first blockbuster art exhibit of the twentieth century, with an estimated attendance of three million visitors. The exhibition was far more popular than the nearby Grosse Deutsche Kunstausstellung (Great German art exhibition), featuring officially sponsored "Heroic Art".

The fate of the artists and their work

Avant-garde German artists, mostly Expressionists, were now branded both enemies of the state and a threat to the German nation. Many went into exile and lost both their reputations and credibility. Max Beckmann fled to Amsterdam on the opening day of the entarte Kunst exhibit. Max Ernst emigrated to America with the assistance of Peggy Guggenheim. Ernst Ludwig Kirchner committed suicide in Switzerland in 1938. Paul Klee spent his years in exile in Switzerland, yet was unable to obtain Swiss citizenship because of his status as a degenerate artist. The Nazi authority that monitored and regulated culture and the arts (the Reichskulturkammer) forbade artists such as Edgar Ende and Emil Nolde from purchasing painting materials. Those who remained in Germany were forbidden to work at universities and were subject to surprise raids by the Gestapo in order to ensure that they were not violating the ban on producing artwork. Those of Jewish descent who did not escape from Germany in time were sent to concentration camps.

After the exhibit, paintings were sorted out for sale and sold in Switzerland at auction; some pieces were acquired by museums, others by private collectors. Nazi officials took many for their private use: for example, Herman Goering took fourteen valuable pieces, including a van Gogh and a Cezanne. In March, 1939, the German Fire Brigade burned many which had little value on the international market.

After the collapse of Nazi Germany when the Russian army was the first to invade Berlin, some artwork from the exhibit was found buried underground. It is unclear how many of these then reappeared in the Hermitage Museum in Saint Petersburg where they still remain. The story of how these paintings survived is not documented in public. They are simply listed at the Hermitage as: provenance unknown.
Quote:

Art by Max Beckmann


Art by Max Ernst


Art by Paul Klee


Art by Franz Marc

Listing of artists in the Entartete Kunst show at Munich, 1937
Quote:
Does the following evoke a sense of deja vu in VNNF readers?
Quote:

The poster of the "degenerated music" (Entartete Musik) exhibition (1938). Jewish Composers and Jazz/Swing musicians were, for instance, accused by the nazis to produce "degenerated music"...
__________________

How is the faithful city become an harlot! It was full of judgment: righteousness lodged in it, but now murderers. Thy silver is become dross, thy wine mixed with water. Thy princes are rebellious, and companions of thieves: every one loveth gifts, and followeth after rewards.

Xian WN!

"The Jew can only be understood if it is known what he strives for: ... the destruction of the world.... [it is] the tragedy of Lucifer."

Holy-Hoax Exposed, Hollow-Cost Examined, How Low Cost? (toons)
 
Old June 9th, 2006 #16
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Some jew "artists' on this 33 page Stormfront thread-- "jews on the news telling you how to think":
http://www.stormfront.org/forum/show...ht=jann+wenner
 
Old June 23rd, 2006 #17
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Missing the actual sculpture of a head, one of Britain's most prestigious art galleries, the Royal Academy, put on display the slate plinth and piece of wood which merely propped up the sculpture in it's 2006 summer exhibition in London.

The academy explained the error by saying the plinth and the head were sent to the exhibitors separately.

http://entertainment.timesonline.co....226219,00.html
 
Old July 4th, 2007 #18
lawrence dennis
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Default Debauched Jew Amedeo Modigliani abused alcohol, abused drugs, abused art

Behold the "genius" of drug-addicted Jew Modigliani:

Original image at: http://mushecht.haifa.ac.il/hecht/pi...ion/p-226c.jpg

More of this "genius" here: http://images.google.com/images?svnu...=Search+Images

Rats' teeth and empty eyes
Is Modigliani really anything more than a caricaturist? By Adrian Searle
Quote:
I cannot like Amedeo Modigliani, whom I rarely think about; when I do, he only irritates me. Confronted by his work, I find myself moving on to something else as quickly as I can. He's like an unfortunate acquaintance one can never entirely shrug off. Drunken, ranting and stoned on one thing or another--add hash, coke, ether and opium to the alcohol--Modigliani, the archetypal cursed artist, the peintre maudit, rattled round Paris, between studios, salons, bars and lovers from 1906, when he arrived from Livorno, until his death, from tubercular meningitis, in 1920. Oh God, here comes Modi, you can hear half Paris muttering as he hove into view....
What a handsome fellow this Sephardic Jew was:

http://upload.wikimedia.org/wikipedi...gliani_004.jpg

He is the subject of a recent biopic, no doubt detailing his "genius" for all the world to admire: http://imdb.com/title/tt0367188/

From wikipedia:
Amedeo Modigliani
Quote:
...

In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme ... A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and mask-like appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks....

From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions....

During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits....

Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis. Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse. Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child....


Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
Wow, what a "legacy," eh?
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Old July 4th, 2007 #19
lawrence dennis
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Default List of Jewish "Painters"

Here is a list of Jewish "painters" from wikipedia:

------------
ABCDFGHIJKLMNOPRSTUWYZ=====================


And a list of Jewish visual "artists":

---------
ACEGKLMRS
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How is the faithful city become an harlot! It was full of judgment: righteousness lodged in it, but now murderers. Thy silver is become dross, thy wine mixed with water. Thy princes are rebellious, and companions of thieves: every one loveth gifts, and followeth after rewards.

Xian WN!

"The Jew can only be understood if it is known what he strives for: ... the destruction of the world.... [it is] the tragedy of Lucifer."

Holy-Hoax Exposed, Hollow-Cost Examined, How Low Cost? (toons)
 
Old July 6th, 2007 #20
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Reading through these lists of :[] "artists" I'm struck by how so few of these names are recognizable.

Of course, some :[] media outlet will no doubt go into overdrive to extoll their "greatness" to us unwashed goyim.
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