BLUT UND BODEN EXPLAINED BY GERRY FREDERICS ART HISTORIAN
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First of all, I am much indebted to Gerry Frederics. Gerry and I have been very good friends for near fifty-years. My friend is rightly classed as the ethno-nationalist expert on fine art in general in and National Socialist artworks in particular. For this reason, he takes the podium to explain the true nature of German art both National Socialist and Blud und Boden (Blood and Earth) artworks.
“My task has been made very difficult by the taboo nature of German art in the history books as well as by the craven attitude of post-WWII German art museums, galleries, and critics. I have made a sincere attempt at giving a general overview and most of all, to represent these things in a manner which does not kneel to the odious and demonstrably dishonest `politically correct´ view. I have researched this subject matter for some time and all opinions credited to me herein are mine alone.
The Third Reich concept of Blut und Boden is used to defame all things German, the criminalisation of German culture, demonstrably one of the most fertile ones that ever existed. German art throughout the centuries has been intricately involved with the soil (Die Scholle), with the forests, the animal world and the people of the soil are an integral part of all these wonderful creations of our God.
“Peasant art is the expression of the divine through blood,” says Adolf Babel, 21st-century furniture, ceramics, and industrial designer.
I had a hunger for knowledge, I read voraciously and because I loved art since childhood I visited every museum everywhere whenever I could; The Chicago Museum of Fine Arts, the Metropolitan in New York, the Uffizi in Florence, the Pinakothek in München, the Städel in Frankfurt, The Los Angeles County Museum of Art, the Getty in Malibu, the Norton Simon in Pasadena, the Prado in Madrid, the Louvre in Paris and the Museum of the Vatican in Rome.
Did you know the Vatican owns one of the largest collections of antique pornography? The Museo Bella Artes in Santiago Chile, the Arms Museum in Lima Peru, the Museum of Latin Art in Long Beach, California; I have been to them all, never in a hurry but deliberately studying their magnificent treasures, or as in the case of the Guggenheim, exhibits presented to the gullible masses as art.
There have been many others, small ones almost unknown such as one in California featuring traditional California artists and their landscapes. One of my favourite past times was to go to Laguna Beach in California with my artistically talented wife and saunter through the myriad of art galleries and whenever an art show was advertised.
My extensive personal library includes nine volumes of the magnificent Time/Life series The Age of Goya, of Titian, etc. Tellingly, a man like Homer receives his Age of Homer, but Dürer, or David Caspar Friedrich, incomparably greater artists are almost ignored.
Despite this, the various art, classical music and jazz music recording collections by Time / Life are to be recommended. It pays to remember, that Time / Life an American-Anglo-Jewish publication is well-known for prejudice publishing.
The Time/Life musical collection of the early 20th century tellingly excludes German modernist Hindemith while enthusiastically including `constructors´ rather than composers such as Schoenberg. That is de rigueur in today´s subterfuge and institutionalised dishonesty.
As for wartime looting, I have in my possession a letter from the official historian of the Louvre in Paris in which he states unequivocally that no German soldier plundered French or indeed any other art museum. Furthermore, I quote the American Major General Le Roy Lutes in a Stars and Stripes newspaper interview of Oct 1944:
“I am told the Germans neither plundered homes, factories nor art museums. In fact, we are told by the French that the Germans treated them fairly and correctly.”
The internet has been hugely helpful, for none of the publications above, and some of them are truly magnificent, show anything whatsoever about the quintessentially German art movements, Blut und Boden, a Leitmotif of German Art for 300 years, and Neue Deutsche Sachlichkeit, none of them mentions even one name of the myriad of great artists who participated in these movements, art movements of the German people for the German people and in fact originating in the very soul of these people. ~ Gerry Frederics, Art Historian.
A highly skilled and dedicated team devoted much unpaid time to produce this unique world-class feature for The Ethnic European. It is hoped that this will be reflected and rewarded by story shares and re-blogs. ~ Michael Walsh.
Michael Walsh is the author and compiler of Sculptures of the Third Reich Volumes I and II, which are available through Amazon and BUY FROM AUTHOR are proving very popular.
The narration of the videos is victors’ propaganda at its most devious. It is important to listen to the overlaying narration to clearly understand the tasteless slurs and constant hypocrisies of propagandists too intoxicated by their own self-importance to shrink from the primitive deceptions.
Michael Walsh was awarded ‘Writer of the Year 2011’. With 60 books bearing his name, thousands of new stories and columns, Michael is arguably Britain and Europe’s most prolific author of multi-topic books none of which have been ghost-written.
MICHAEL WALSH is a British born Irish journalist, author, and broadcaster. His 52 books include best-selling REICH AND WRONG, WITNESS TO HISTORY, THE RED BRIGANDS, RANSACKING THE REICH , HEROES HANG WHEN TRAITORS TRIUMPH , TWILIGHT OVER ENGLAND , THE ALL LIES INVASION and SCULPTURES OF THE THIRD RIECH: ARNO BREKER AND REICH SCULPTORS , SCULPTURES OF THE THIRD RIECH: JOSEF THORAK AND REICH SCULPTORS .
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