“The poltroon is most effectively forced to stop his grumbling when he is confronted with the eternal diction of great art. The centuries bow to it in silent veneration.” – Adolf Hitler
Hitler’s marked preference for artists, or at least individuals capable of deeply appreciating art, to comprise his inner-circle is a distinguishing feature of his style of spiritual leadership. Considering artistic sense to be one of the better indicators of racial quality, as this – unlike academic abilities - cannot be taught to anyone who lacks the innate emotional sensitivity for it, he believed it should be a required qualification for National Socialist statesmanship. Alfred Rosenberg explains: “He claimed that Ludendorff had to fail politically because he was unmusical. He, on the other hand, as a musically sensitive person, understood men better, and also would be better able to lead them. … What Hitler wanted to say is that only a musical person can really feel the vibrations of a people’s soul, and thus find the right words to influence it, so that he alone before all others, can take the proper steps to lead it politically.” This is comparable with some philosophy seminars in the ancient world such as Pythagoreanism, which refused to admit students incapable of demonstrating non-verbal aptitudes such as perfect pitch and keen spatial and rhythmic perception.
“Hitler naturally knew that I had a deeper understanding of art and culture than Goebbels.” – Alfred Rosenberg
This does not mean that Hitler necessarily looked down on the majority who lack artistic sense, so long as such people also stayed out of politics. Hitler’s contempt for Jews was for the ability of many Jews to feign artistic sense before others without actually possessing it, and thus deceptively present themselves as sensitive people despite their inner callousness. In his own words: “The Jew totally lacks any interest in things of the spirit. If he has pretended in Germany to have a bent for literature and the arts, that’s only out of snobbery, or from a liking for speculation.” Only the genuinely artistic, however, is able to detect the falsely artistic, thus the development of an Aryan perspective on art is important to anti-Zionism.
External link: Open Letter by Artists Against Marine Le Pen
External link: J.K. Rowling Says Trump Is Worse Than Voldemort
“A great general line must be found which allows the separate individual creations to be filled with a larger idea.” – Adolf Hitler
Most are familiar with the paradigm shift in art which has occurred over roughly the last century; from realism with recurring classical themes to the abstract, modern art that is often ridiculed when compared with the Renaissance greats. However, we will not take sides in what we consider to be a meaningless clash between two styles of art; we declare style is irrelevant as long as the artwork possesses a purpose and demonstrates it in a way which can be widely understood.
Hitler had strong opinions about art which he did not hesitate to apply to state projects, but his in-depth views were much more nuanced than the Zionist caricature of him as a stuffy neoclassicist. Alfred Rosenberg described them thus: “He was disgusted with the trend that tried to hide a lack of artistic ability under a plethora of paint and arrogant brush strokes … Hitler declared that the art of painting would have to begin at the beginning again, with skilful design, studies of form, and honest artisanship … Hitler also believed that the much criticized 19th century had actually produced a great number of works of art and that, in any case, 19th-century painters were certainly more skilful than the people who in the last few decades had become destroyers of all form.” We consider Hitler to have been at heart part of the Romanticist movement.
Modern art is most infamous for its relativism, which disqualifies much of it from serious consideration – if it does not believe in anything, what could it possibly need to express? This has been especially true since the end of WWII, with the majority of modern art of all categories possessing a very vague purpose of breaking social taboos, characterizing itself as degenerate art intended only to demoralize.
The only purpose is to offend.
In reaction, it is tempting to assume that realistic styles can more easily be classified as Aryan art when compared with modern styles. However, a primary argument made by contemporary artists with such leanings aiming for a new artistic “renaissance” is that art should “return to art for art’s sake”. While the technical skills of these artists may surpass most modernists, they - like many of their modernist foes - also lack purpose to their art. Hence an important distinction is made: it is not necessarily the way the values are illustrated, but the values themselves which determine the classification of the artwork as either Aryan or non-Aryan.
Purpose? Who cares! It’s all about my awesome skills!
Visually pleasant, but purposeless
“The real artist is ripened by his own personal experience of life and not by study in some art academy.” – Adolf Hitler
Along with art’s general linear degeneration over the 20th century has occurred the emergence of an elitist art establishment. Sincerity and simplicity are prerequisites of Aryan art, as they enable the values and emotions of a work to be most effectively conveyed. In contrast, ridiculously complex abstract art disqualifies itself as Aryan art, for no matter its purpose, its effectiveness at fulfilling it is minimal. Another of Duchamp’s works is shown below, as well as Pollock’s famous work (which sold for a record $152 million); both of which possess forms that severely restrict the representation, and hence the comprehension, of the purpose either of the artists may have had in creating them.
If it has a purpose, no one knows it.
Purpose lost due to a poor medium
Additionally, the Aryan preference for quality over quantity is very much a consideration. The quantity of works completed by an artist is a reflection of the technical skill and effort required to transform the imagined work into reality (turning a urinal upside down, signing it and coming up with the original title of ‘Fountain’ is quick and easy). Thus, the higher the quality of the work, the lower the quantity and the higher the demands from the artist (beginning in 1503, the Mona Lisa was not completed until 1519). This becomes obvious whenever an artist attempts an Aryan artwork, as a certain quality is necessary if the work is to mean anything at all.
“Nothing in art is created without effort, and the painter’s ideas don’t come to him on wings while he dreams, either. The one may be more talented than the other, of course; but without untiring diligence, single-mindedness and a combative spirit, there can’t be any good result.” – Arnold Boecklin
One of Hitler’s favourite painters was Boecklin, whose paintings formed a significant part of his private collection. Boecklin’s works varied widely in quality and themes, but his best works are excellent examples of how an artist’s skill can become a lens through which the viewer can see the world more profoundly and be brought in touch with fundamentals of existence, and indeed how those who possess such skill should consider it their vocational duty to apply it in this way.
“A picture must give the spectator as much food for thought as a poem and must make the same kind of impression as a piece of music… Who would ever have been able to anticipate the effect of music before having heard it? Painting should pervade the soul in the same way, and as long as it does not do this it is nothing more than brainless handicraft.” – Arnold Boecklin
“If you look at history, you’ll see there are no schizophrenic sculptors. … We sculptors are too close to the material. We have to deal with stone, with the material. The overcoming of the material is a monumental task, one that challenges me from the moment my day begins.” – Arno Breker
One of Hitler’s favourite sculptors was Breker, an NSDAP official artist whose works memorably complemented the architecture and general aesthetics of National Socialist Germany. The fact that his works were mostly state commissions does not lessen their respectability – contrary to what modern-day critics would like people to believe – but demonstrates that sincere personal expression and wholehearted public service are not only not mutually exclusive but can even be mutually supportive when a purpose exists to unite the two.
“Today, humanity is only occupied with various materials. Someone takes a piece of railroad track and sets it on a lawn, and that’s supposed to be art.” – Arno Breker
“Music has taken a bad turn; these young people have no idea how to write a melody, they just give us shavings, which they dress up to look like a lion’s mane and shake at us… It’s as if they avoid melodies, for fear of having perhaps stolen them from someone else.” – Richard Wagner
One of Hitler’s favourite musicians was Wagner, whose last opera “Parsifal” provided him with the heroic archetype that he wanted himself and Germany as a whole to live up to (hence his enthusiastic sponsorship of the Bayreuth Festival), and which some consider to have inspired National Socialism itself. Wagner, also an outspoken critic of Jews and Judaism, championed the idea of “Total Artwork” interweaving different disciplines such as music, literature and visual arts into a single product for the sake of expressing common purpose. To emphasize the primacy of the dramatic element, he preferred the term “music drama” over “opera” to describe his own work.
“The error in the art-genre of Opera consists herein: a Means of expression (Music) has been made the end, while the End of expression (the Drama) has been made a means.” – Richard Wagner
“Reality doesn’t interest me.” – Leni Riefenstahl
One of Hitler’s favourite filmmakers was Riefenstahl, whose directorial debut ‘The Blue Light’ (in which she was also the starring actress) convinced Hitler of her idealistic personality, and who went on to produce with NSDAP support some of the most important films of the pre-WWII era, including ‘Triumph of the Will’, and ‘Olympia’ that received high acclaim worldwide. These films, which capture on camera the sincere idealism and positivity of National Socialist Germany, are invulnerable to the Zionist distortion applied to more scholarly sources, and thus remain a principal avenue by which many today are invited to question the ‘official’ history of that era. This shows the true power of art: to express truth in a form so pure that it is invulnerable to attack by lies.
“I set about seeking a thread, a theme, a style, in the realm of legend. Something that might allow me to give free rein to my juvenile sense of romanticism and the beautiful image.” – Leni Riefenstahl
“A man who is worn out by a hard day’s work or by a load of care is not always capable of dealing with difficult artistic problems in the evening, or of making them his companions.” – Adolf Hitler
Display of art is crucial, as the purpose of Aryan artwork is void if the work is never viewed. Art should avoid being intended exclusively for the tastes of the highly educated, but rather attempt to coincide with the popular and public aesthetic of the state. This necessitates the preference for public art forms capable of being integrated into the habitat or otherwise viewable without excursive planning or expensive visitors’ fees.
This can be seen prominently in National Socialist Germany, where the production of paintings and stage performances was relatively low, while sculpture, architecture and street performances became symbolic of the regime, and significant focus was placed on the then relatively new media of film and television. In our time, while these media continue to be important, we must also seek new opportunities in such as pop music, animation and video games.
External link: Sword of Elysium