2 June, 2009

White Art

Posted by Socrates in art, Socrates, Western culture, White art/architecture at 12:38 am | Permanent Link

Nicolas Poussin: [Here].


  1. Similar posts:

  2. 02/21/16 White Art 100% similar
  3. 06/07/15 White Art 100% similar
  4. 08/21/14 Western Art Then vs. Western Art Now 100% similar
  5. 04/06/08 More NATO News 98% similar
  6. 05/29/09 Zionism Grows With Help from France 91% similar
  7. 9 Responses to “White Art”

    1. Justin Huber Says:

      As always, I love the link to the ARC web site. A lot of great stuff there.

    2. Tom McReen Says:

      Right-thinking lurkers who know that ‘modern art’ is vile left-wing crap may not be aware that jews are the main people responsible for promoting it.

      Jews bring everything down to the lowest level.

    3. Parsifal Says:

      Tom’s idea of Fine Art is a Mexican oil-painting of Jesus or Elvis on a black velvet canvas. Stupid ass.

    4. Tom McReen Says:

      http://www.heretical.com/miscellx/jewart.html

    5. old_dutch Says:

      Itz “baroque” alright. LOL. The only thing Poussin lacked was black velvet…he even copies Claude Lorrain’s landscape details.

    6. whodareswings Says:

      What’s the deal on the Russian avant garde? Certainly Malevich and Kandinsky weren’t Jewish. Why does “white art” always have to look like a roadside garden statue stand? Check out Zbigniew Libera’s Lego Concentration Camp: I don’t think he’s Jewish: http://www.othervoices.org/2.1/feinstein/auschwitz.html He sold a set to The Jewish Museum in NYC for bank.

    7. whodareswings Says:

      The all-black uniform of the Nazi Schutzstaffel, a paramilitary force from 1932 until 1945, was designed by SS-Oberführer Prof. Dr. Karl Diebitsch and graphic designer Walter Heck. From 1933, the Hugo Boss company produced these black uniforms along with the brown SA shirts and the black-and-brown uniforms of the Hitler Youth.[1][2] Some workers are acknowledged to have been prisoners of war forced into labor.[3][4]

      http://en.wikipedia.org/wiki/Hugo_Boss

      The coin, stamp, currency, insignia and parade regalia designers were (and this list has taken me awhile to assemble with help from German trademarks history expert Leslie Carbarga):

      Carl Diebitsch
      Walter Heck
      Egon Janke
      Carl Wilhelm Defenbach
      Wilhelm Defke (Wilhelmwerks)
      Carl Ernst Hinkfuss
      Paul Caseberg
      O.H.W. Hadank

      Defenbach and Hadank were pre-NSDAP but influential. Defenbach was the ur vondervogel: http://www.gusto-graeser.info/Diefenbach/zeittafel_diefenbach2.html#Graeser

      These recent podcasts include a good lecture on Wilhelm Defke designer of the NSDAP swastika. Heller says even though he was a party member they stiffed him on the bill. Many graphic designers agree that Defke is the father of the modern trademark.
      http://design.schoolofvisualarts.edu/weblog/paulrand/2009/01/31/WilhelmDefkeFatheroftheModer.html

    8. Tom McReen Says:

      “Why does “white art” always have to look like a roadside garden statue stand?”

      Does it?

      “Check out Zbigniew Libera’s Lego Concentration Camp: I don’t think he’s Jewish”

      And? We know about ‘white’ degenerates but ‘modern art’ is a promoted by jews.

    9. Tom McReen Says:

      http://www.foxnews.com/story/0,2933,524999,00.html

      Jews again. Posted by wildbill on the forum.

      “Exhibit A is a painting of Alice in Wonderland, by Beth Post of Fayetteville, Ark. Titled “The Temptation of Alice,” it is a rendering of the iconic children’s book character alongside the “Drag-Queen of Hearts,” a man wearing women’s lingerie. The two of them are surrounded by rabbits that are, ahem, busy making more rabbits.

      Exhibit B is a painting of the Virgin Mary, by Michelle Levy of Eureka Springs, Ark. Titled “The Divine Mother,” it depicts a bare-breasted Mary nursing the baby Jesus, with text above the Madonna that asks, “Does this halo make my face look fat?”

      Welcome to the “Artery” exhibit, a collection of 27 8-foot-by-4-foot paintings that has been on display in the town of Eureka Springs since September, and whose current theme — popular icons in religion and culture — has raised more than a few eyebrows in the small northwestern Arkansas town.

      Those concerns have led some city council members to draft a contract that would take control of the public art exhibit from its curators — and have led some artists to cry censorship.”