← Autodidact Archive · Original Dissent · Robbie
Thread ID: 3487 | Posts: 7 | Started: 2002-11-12
2002-11-12 03:53 | User Profile
Salvador Dali, Iconoclast of Political Correctness
by Ernst S. Bloefeld
November 11, 2002
Among the innumerable acts of Jewish sabotage against Aryan culture in the 20th century, the debasement of our concept of beauty stands out as one of the most insidious. Never have our people felt so estranged from the nourishing spirit of beauty that gives its expression thru art.
20th century art, particularly painting, is characterized by its lack of an IDEAL.
Up until the time of the impressionists, standards of beauty were defined and upheld by an academy system that governed an artist's exposure through the salons (public exhibitions). In England these academies were comprised of the most refined and cultured aristocrats such as Frederic, Lord Leighton. It should be noted that painting academies trained artists by having them copy classical antiquity.
Eventually however the juried salons gave way to the independent gallery system. Soon, well-funded Jews moved in and bankrolled every modernist dauber (especially the ones with communist leanings).
One modern painter whose work and political views stood in defiance to the Jewish monotheism of ugliness was the Spaniard Salvador Dali.
Dali rose to prominence in the surrealist movement, giving it a much needed invigorating boost with his highly realistic images of dreams.
In a time when art was plummeting ever farther into the realm of abstraction Dali was a lone champion of realism, extolling the necessity for craftsmanship.
By 1937 Dali had a falling out with the communist founder of the surrealist movement, Andre Breton. Dali's expulsion from the surrealists occured when Dali told an indignant Breton that "the world's greatest crisis is racial. The white race should band together and reduce the darker races to slavery." Furthermore Dali was an unabashed admirer of Hitler.
Establishment art critics and historians consider his only significant painting to have been done between 1929-1937 and have been dismissive of all his subsequent work.
During the years of the second world war Dali moved to the United States and devoted himself to the study of the old masters. His arduous research yielded a technique of almost undreamt of virtuosity in an age when craftsmanship was scorned and at its absolute nadir.
Though Dali was almost universally derided by critics for his unforgiveable regression into classicism, it was his unapologetic facism and praise for the Franco regime that doomed his critical acceptance. Nevertheless Dali's fame continued to increase with the public, which longed for an artist who "knew how to paint."
In his writings or public and private comments, Dali was never known to hesitate in voicing his contempt for everything affiliated with the Left. Dali would routinely call General Franco to congraulate him whenever the dictator shot some Basque separatists. He openly praised the work of Arno Breker, Hitler's favorite sculptor who had fallen into obscurity.
Once when asked by Andre Malraux, France's minister of culture, if he believed in capital punishment Dali replied no. Dali then proceeded to say he advocated "a long, slow torture instead."
I would like to urge all white nationalists to see the Nietzchean superman Dali depicts as Christ in his religious tableaux of the 1950s and '60s. By the sheer force of his oeuvre, Dali's reputation is slowly undergoing a reappraisal now that his critics are dead and forgotten.
ERNST S. BLOEFELD
2002-11-12 05:31 | User Profile
I enjoy Dali's works because of the sheer beauty of them, for which his great technical mastery is responsible. You have to know the rules before you can break them in any meaningful way. It seems to me that Dali's brilliance lies in his ability to couple the surreal with the fully human - unlike that jew fraud Picasso (although I know the Commie showed himself to be at least a minimally competent artist in his early works).
2002-11-12 18:09 | User Profile
I've always liked Dali, probably the last great artist. "His arduous research yielded a technique of almost undreamt of virtuosity in an age when craftsmanship was scorned and at its absolute nadir." That says it all. Art, the work of artisans, or craftsman, is meaningless if it doesn't imply craftsmanship.
As for Picasso, I've never seen what's so great about [url=http://www.grnica.swinternet.co.uk/guernica.jpg]Guernica[/url]. It's always praised as a political statement, with the usual tortured explanations of what all its features really mean.
2002-11-13 03:33 | User Profile
Very interesting post and comments. I always thought that his work was infinitely superior to that of most twentieth century "artists" whose works were touted by "cultural bolshevism." I had no idea he was so politically incorrect. I'm curious as to where the article by "Ernst S. Bloefeld" was originally posted.
2002-11-13 05:10 | User Profile
FH--
That article came from La Linder's site (VNN). I was quite surprised that someone of their camp wrote that because it's one of the most rationally-minded op-ed's I've read off of that site. ;)
2002-11-13 20:47 | User Profile
William Bouguereau- My new favorite artist and I had never heard of him until I found this link on VNN-
[url=http://www.artrenewal.org/]http://www.artrenewal.org/[/url]
Beautiful stuff.
2002-11-15 06:06 | User Profile
Great Posts!
THE MUSEUM OF EUROPEAN ART [url=http://www.meaus.com/index.html]http://www.meaus.com/index.html[/url]
Salvador Dali [url=http://www.meaus.com/genius.html]http://www.meaus.com/genius.html[/url]
Arno Breker [url=http://www.meaus.com/guardian.html]http://www.meaus.com/guardian.html[/url]