The Propaganda Of Color

[Douglas Mercer]

The Propaganda Of Color

The art world and its propagandists are engaging in some anti-White sleight of hand, they found a few flecks of red paint at a dig, and the next thing you know all those White statues they hate so much are decked out in the gaudy colors befitting a drag queen at a school library on a mission to groom some young ones. It seems that the Metropolitan Museum of Art in Jew York City has a show called Chroma put on by some nerds who think they have uncovered a long lost secret: that Greek and Roman statues were all the colors of the rainbow. The Greeks were probably black too. How else would they have come up with that high art and philosophy? Unless they stole it from the negros of Egypt.

It's no surprise that the farther along you go on the racial right the more you see displayed prominently symbols and works from the Greeks and the Romans. These peoples are viewed as based and as the perfect antidote to clown world and Weimar. Hitler himself was obsessed with the high Western Art of the ancient world and was embarrassed by Himmler's insistence on digging up potsherds from Germany. This trend has not gone unnoticed by the Jews who now deplore the classics and view any posting of a statue of Augustus Ceasar as tantamount to tossing the bullet ridden bodies of Uncle Schmulie and Aunt Sarah in the ditch. No less a person (or no more of a person) than the sister of bug mutant Mark Zuckerberg has written a great big book on the subject in which she argues that reading Tacitus' treatise on ancient Germany is the moral equivalent of pulling the gold teeth out of the corpse of Jewish banker. The one leads inevitably to the other you see.

Says Jew Donna Zuckerberg:

"The Alt-Right is hungry to learn more about the ancient world. It believes that the classics are integral to education. It is utterly convinced that classical antiquity is relevant to the world we live in today."

When the heroic image is under assault, when the heroes are torn down, when our noble men are slandered, when statues tumble, when greatness is laid low, it is then that the classics and the classical world represent a truth north and a true lodestar. In a sea of weakness and guilt and shame and surrender the Greeks and the Romans seen to have gone from strength to strength. Unlike the chopped liver today masquerading as masculinity in the tribunal of history they acquitted themselves as men.

Men die, cattle die, but the fame of these laurel-wreated stalwarts will last forever.

"Classics, supported by the worst men on the Internet, could experience a renaissance and be propelled to a position of ultimate prestige within the humanities during the Trump administration, as it was in Nazi Germany in the 1930s. Classics made great again."

That is quite true about the National Socialists. In his book Greeks, Romans, and Germans, Johann Chapoutot details that Hitler was a fanatic art maven steeped in the glory of Greece and the grandeur of Rome; and his ideologists in general worshipped the classics and made the case (obvious it now seems) that the Greeks and the Romans were of Nordic derivation, descendants of earlier migrations from the North. Speer and Breker are simply the ancients on a grandiose scale.

"Donna Zuckerberg, the editor of Eidolon, has warned that 'Western Civ' is a slippery slope to White Supremacy and Rebecca Kennedy has gone one further, arguing that classics as a field is in fact already complicit in White Supremacy."

This is the Dead White Males theory. This is where decolonizing the curriculum comes from. But here's the thing: they are right to be worried. When a movie like 300 comes along men on the racial right lionize it; for the fact of the matter is that these values are our values, values that can be found nowhere in today's world. At their best the Romans in particular were the most based people ever to live on earth; they worshipped their gods but what they really worshipped was what was most near: home, family, clan, ancestors, hearth, country.

"There is a centuries-long tradition of white Americans abusing classics to justify enslavement and, by extension, to promulgate anti-Black racism. This is part of a history of intentional, overt white supremacy within classical education."

Again, there is no doubt about it: reading the classics is bracing, especially coming from the mealy-mouthed half breed anything goes present. To read of them is to read of heroes who know no apology, of a world untouched and untroubled by Christianity and its soft headed "love," it was a world where the strong survived and when to be a victim was to be full of shame. It was a world still new in its vitality and movement, and anyone coming to it from the threadbare present will appreciate it like a starving man a meal or a man dying of thirst a drink.

"Classics has been instrumental to the invention of whiteness and Classics is often ground zero for the positioning of Europe as the pinnacle of human achievement."

On this one we are agreeing with them more and more; of course they see this as the horror of horrors and we see it as simply the stone cold truth; is there any real question that what Europeans did and what they achieved was the best that man has done and thought? To disagree with that you really have to do some special pleading, it's so glaringly obvious. But it is this ineluctable fact that roils them so, which they call Whiteness, and they call evil. They can't compete so they declare the game rigged, and its prime beneficiaries criminal.

"There is a growing movement in the academy, where term-papers littered with multi-syllabled words such as diversity and inclusion prove intellect and virtue, to discourage the learning of Aristotle, Cicero, Tacitus, and Plato. The Classics are symbols of too much Whiteness."

And don't forget about all the statues the Greeks and the Romans created. They are all of them White as the driven snow and it is has always been and always will be this Whiteness that gives them their aura, which makes them such unique objects to conjure with, which grants them their unparalleled mystique.

Make no mistake about it, it is their pure whiteness which drives them insane, it is this Whiteness of the statues that gives them fits; and causes them to engage in the propaganda of color.

It really is a poor thing but for the time being at any rate they insist on calling it their own.

***

So way back when when they dug some of these White statues out of the ground they found some barely discernible trace elements of color; and now some nerds do some hocus pocus in the lab and voila: the next thing you know Pallas Athena is tricked out with all the colors of a rainbow and instead of being the avatar of wisdom she looks like a cheap and painted tart gaudily and garishly walking the boulevard in search of trade.

You see this is really it: they glommed on to a theory (that the statues of the ancients were not White but really brightly colored) which may be true, or may not be true, but what it is for sure is a hypotheses, nothing more, despite their arrogant certitude. But what they really know is that the mystique that these statues have as the "inventors of Whiteness" they would never have had if they had always been colored. For when they are colored they look cheap and tawdry rather than grave and austere, they look goofy rather than serious and stoic. Rather than heroic they look like contenders in a drag contest at Youth Fair sponsored by a Jewish organization dedicated to sexual freedom.

It's the world of the colored over the world of the White they want, they want the ancients not be considered stern and grave but "vibrant" and louche, a way of de-masculinizing them so these ancient avatars cease to pose a threat to what they value (faggotry and deracination). They want the Greeks to be seen as effeminate as that boy in pajamas sipping his seven-dollar latte surging the net for a good deal on Obamacare. These colored statues they are painting on the back of a dubious theory are just so many proxies for the race and gender wars

People of color good, White people bad.

Colored good, white bad.

It's not more complicated than that.

"From 5 July 2022 to 26 March 2023, the Metropolitan Museum of Art presents Chroma: Ancient Sculpture in Color, an exhibition featuring reconstructions of ancient sculptures in their original polychrome. Although we often romanticize the bare marble of ancient sculpture today, most of these specimens were in fact painted in bright shades of blue, red, yellow, brown and many other colors."

In fact--so they say. And the "bare marble" is rich, as if that austerity in itself was not an artistic value--indeed it is the artistic value they seek to overthrow, as if the massive and monumental gravity of the pure White marble were something lesser, not what it is-something incomparably greater. Certainly greater than some cheap tricks tricked out by the tricks of color.

The video about this exhibit on the Metropolitan Museum of Art's website is called "Chasing Color." In its headline for its article on the exhibit National Public Radio blared: "We know Greek statues weren't White. Now you can see them in color."

Color is the watchword.

The propaganda of color.

But remember this is a hypotheses--at best, at worst as dubious as the claims that the first King Of England was black as coal.

"Ancient Greek and Roman sculpture was once colorful, vibrantly painted and richly adorned with detailed ornamentation. Chroma: Ancient Sculpture in Color reveals the colorful backstory of polychromy—meaning many colors,” in Greek."

Vibrant here being the word that is the tip off, vibrant being the code word for "enrichment" from the colored races, a word that should only be used with the grimmest irony. Everything about this story, the story itself, and how it is covered in the Jew media is transparent code. They present it is as just a story of how the statues really are, but you begin obviously to see the whole thing as a sordid exercise in anti-White propaganda. It's as if they wanted to run another article on the evil of White people, but they thought they'd take a higher brow tack on this one, to explain how the Greeks and Romans were not White, let alone Nordic, how they were not racist, how their societies were happily diverse, how they eschewed Whiteness altogether, and how they most certainly did not create those iconic Whtie statues. No, they were as colorful as the transvestite at the latest Pride Parade and their art displayed that in the living colors of the rainbow.

If you've ever heard anything more nauseating than that let me know.

"The exhibition features a series of reconstructions of ancient sculptures in color by Prof. Dr. V. Brinkmann, Head of the Department of Antiquity at the Liebieghaus Skulpturensammlung, and Dr. U. Koch-Brinkmann."

These are the "disinterested" artistic technocrats they trot out to make it look like this is a disinterested endeavor, when in fact are not dispassionate scholars but have every interest in the world to make you think that those statues were all the colors of the diverse rainbow.

"Walk through the Greek sculpture galleries of most museums and you'll see pedestal after pedestal of white, marble statues with sightless eyes. That's just how Ancient Greek sculpture was, right?"

Their answer is a resounding no! No way did those old guys carve out those monumental White works, no way were they complicit in Whiteness. You see the whole thing (they say) has been a fraud, the White world has known for all time that this art more resembles a big bowl of fruity pebbles than a long gallery of heroic White men. That is, they want us now to believe that for all these centuries these stellar monochromatic White objects have been foisted on all of us to make you think that Greece and Rome were wholly European in their origin and outlook, that the White scholars of the past have colonized our brains and the curriculum in an attempt to make us think that Europe and Europeans are the be all and end all when it comes to taste and refinement in high art, and so they are.

Nothing could be further from the truth!

What a joke and what a bunch of jokers.

Who in their right mind believes such hogwash?

Far too many is the likely answer, "right mind" being a colonial concept.

This and this alone is why they found some minuscule hardly perceptible elements of color and then went in to the lab and worked their anti-white mumbo jumbo as part and parcel of a concerted effort to "de-center" Whiteness.

"A new exhibit at the Metropolitan Museum of Art in New York scatters recreations of what these statues actually looked like throughout its galleries: they're painted in garish colors with multiple patterns."

Vibrant, garish, like crossdressers, transvestites, transexuals, making them less masculine and thus much better suited for what they are, or at least what they are now, weapons of civilizational and racial genocide.

"For some, it will be a shock, said Max Hollein, the director of the museum. But one has to understand that our current, whitewashed idea of Greek and Roman antiquity is wrong."

"Chroma: Ancient Sculpture in Color reminds us, once again, that our view of the ancient world is whitewashed."

Whitewashed: their ideology in a word, but it's really a form of brainwashing and indoctrination. Whitewashed, their word de jour, making it sound bleached out or like the proverbial "white sepulcher", deceptively pure above but down below a charnel house of horror and decay and festering carnage.

"As this history of painted statuary returns to view, it brings with it an unsettling question: if we know these statues were polychromatic, why do they remain lily white in our popular imagination

When they use a term like "lily White" you know this is not reporting this is propaganda.

This is the propaganda of color.

***

"Like most people, he thought of Greek and Roman statues as objects of pure white marble. The gods, heroes, and nymphs displayed in museums look that way, as do neoclassical monuments and statuary, from the Jefferson Memorial to the Caesar perched outside his palace in Las Vegas."

They look that way because that is how they were and are. To make us think that the noble ancients of our line had the taste of hairdressers or random flits is absurd. It is those outsized and monumental white objects of art which they know serve our purpose, not theirs. But really what they've cooked up and concocted is little more than high intensity graffiti, or roller skating through the Louvre with a cans of colored spray paint as they proceed to slash scars across the work of the ages.

"Westerners have been engaged in an act of collective blindness. It turns out that vision is heavily subjective. You need to transform your eye into an objective tool in order to overcome this powerful imprint—a tendency to equate whiteness with beauty, taste, and classical ideals, and to see color as alien, sensual, and garish."

Goethe disagreed:

"The cult of unpainted sculpture continued to permeate Europe, buttressing the equation of whiteness with beauty. In Germany, Goethe declared that savage nations, uneducated people, and children have a great predilection for vivid colors. He also noted that people of refinement avoid vivid colors in their dress and the objects that are about them."

Goethe also said that if we gave the Jews rights they would never spare us in the end, so it's a very safe bet indeed they he knew a thing or two.

And just when you thought that the entire artworld had succumbed to this anti-White sickness and madness and malady a sole representative of sanity appears and saves the day:

"For many people, the colors are jarring because their tones seem too gaudy or opaque. In 2008, Fabio Barry, an art historian who is now at Stanford, complained that a boldly colored re-creation of a statue of the Emperor Augustus at the Vatican Museum looked like a cross-dresser trying to hail a taxi. Barry said he found the colors unduly lurid: The various scholars reconstructing the polychromy of statuary always seemed to resort to the most saturated hue of the color they had detected, and I suspected that they even took a sort of iconoclastic pride in this—that the traditional idea of all-whiteness was so cherished that they were going to really make their point that was colorful."

This is exactly right, this is the long and short of in fact. These art flacks, and art restorers, and art curators and directors are not just happening to tell another story, a story with no agenda, they are hip deep and deeply dyed and imbued with the regime ideology and are really nothing but foot soldiers for it. Despite the seemingly highfalutin nature of their calling they are errand boys delivering not a neutral lecture but a slanted message: the Greeks and Romans were not White, their art works weren't white and, by the way, not only does Whiteness not exist but it evil incarnate as well.

While "Chroma" simply puts forward their thesis as a "value neutral" presentation others are not so reticent, they queue up at the sludge trough and to pig out and go whole hog:


"Lately, this obscure academic debate about ancient sculpture has taken on an unexpected moral and political urgency. Last year, a University of Iowa classics professor, Sarah Bond, published two essays, one in the online arts journal Hyperallergic and one in Forbes, arguing that it was time we all accepted that ancient sculpture was not pure white—and neither were the people of the ancient world. One false notion, she said, had reinforced the other.

Now here we are. "We all must accept"---that is we all must drink the anti-White Kool Aid they are hawking, to do anything else would be to be mired in know-nothingness, it's just a fact they say, it's time we succumb. And (here of course is the real reason they do this) not only were the statues multi-hued like a homosexual carnival freak--the people who made them were not White either! How convenient, right? Ultimately this is nothing short of an attempt at undermining the White world and the White race, and a cheap and transparent attempt at that.

"These near-life-size portraits, which were painted on funerary objects, present their subjects with an array of skin tones, from olive green to deep brown, testifying to a complex intermingling of Greek, Roman, and local Egyptian populations."

Yes sir the peoples that Hitler was convinced were pure Nordic stock at their zenith were really nothing short of the product of a global gang bang of miscegenation, a petri dish of blood mixing and deracinated race bastards. This is what the elites in our classics departments want you to believe--that there are no races, certainly no pure races, and certainly no pure White race and really no White race at all--except when that non-existent race is being pilloried from pillar to post--this is the endgame on this nonsense.

"Bond told me that she’d been moved to write her essays when a racist group, Identity Evropa, started putting up posters on college campuses, including Iowa’s, that presented classical white marble statues as emblems of white nationalism. Some white supremacists have been drawn to classical studies out of a desire to affirm what they imagine to be an unblemished lineage of white Western culture extending back to ancient Greece."

It's the unblemished lineage that they are after. They want to sully it with this academic voodoo, with this lurid magic trick to make everything we know go away. That the line and lineage is not unblemished or unpolluted, that the genetic pool was contaminated from the beginning, that it was never as white as the driven snow but always black as sin. This is what they would have you believe.

"Earlier this year, the BBC and Netflix broadcast Troy: Fall of a City, a miniseries in which the Homeric hero Achilles is played by a British actor of Ghanaian descent. The casting decision elicited a backlash in right-wing publications. Online commenters insisted that the “real” Achilles was blond-haired and blue-eyed, and that someone with skin as dark as the actor’s surely would have been a slave. It’s true that Homer describes the hair of Achilles as xanthos, a word often used to characterize objects that we would call yellow."

The blonde hair is the worst for them, it's the blonde beast in the guise of a berserker warrior which hits every nerve they have, it recalls to them light eyed milk drinking bronze age riders thundering and sweeping across the steppes. By putting an African in the role of Achillies they try to slowly weed out this ancestral memory in the hearts of White people and when "the worst men on the internet" strive to keep it well and alive they begin to cast every form of aspersion on them.

"In an essay for the online magazine Aeon, Tim Whitmarsh, a professor of Greek culture at the University of Cambridge, writes that the Greeks would have been staggered by the suggestion that they were white. Not only do our modern notions of race clash with the thinking of the ancient past; so do our terms for colors In the Odyssey, Whitmarsh points out, the goddess Athena is said to have restored Odysseus to godlike good looks in this way: He became black-skinned again."

Homer as a negro lover! What fancy! It's not just that these people have no decency, but they have no brains either. All through Homer's epics light eyes and light hair are extolled, Athena is "golden haired" and "blue-eyed". The problem these Cambridge professors have is that is that their idea of Homer extolling blackness is ludicrous, even the man on the street with a casual understanding of the issues at stake will smell a rat. They know the heroes of Homer and his Gods and Goddesses are White, and they know it because they've seen all those White statues.

“Although there is a persistent, racist preference for lighter skin over darker skin in the contemporary world, the ancient Greeks considered darker skin for men to be more beautiful and a sign of physical and moral superiority."

Hellenic worship of the negro! Thucydides knew it, Socrates knew it, Sophocles knew it, all bowed down before the image of an Ethiopian. You couldn't get Plato to stop talking about it, it got so bad Aristotle had to gingerly tell him to shut up on the subject.

"His ardor for whiteness was so intense that the evidence didn’t stand a chance. Scholars who continued to discuss polychromy were often dismissed. Auguste Rodin is supposed to have pounded his chest and said, I feel it here that they were never colored.”

Now we are in the realm of the giants, aside from Breker and Thorak Rodin was the modern sculptor who can enter the pantheon of the ancient greats. Safe to say he knew a thing or two.

"In the eighteenth century, Johann Winckelmann, the German scholar who is often called the father of art history, contended that the whiter the body is, the more beautiful it is, and that color contributes to beauty, but it is not beauty."

Yes.

***

The long and the short of it is that this Western Civilization, these Greeks and these Romans, with their history, their politics, their art, and their philosophy, had and have an overwhelming glamour and prestige. They are the benchmarks and the hallmarks, the gold standard, high water marks, and yardsticks by which everything lesser is finally judged. The statues in question symbolize this conquest of culture: pure, White, proud, noble. And they now want to take it down and make it all fruity and pervers, and lurid, and garish and gaudy, to have you believe that those ancients were really as dark as the latest graduating class at an historically black college. They want you to think Homer was black and Achilles was black, and Athena too, and that those White statues we adore were really painted up in all the rainbow colors of a San Franciso Pride festival. Because this Western Civilization you know--it was not hallowed or sacred or serious, and certainly not based--it's racist.

"In doing so, we can abandon the Eurocentric art history of the 18th century and its championing of whiteness as equal to beauty. In its place we can illustrate the diversity of the Mediterranean, its people and its history. And, perhaps, in this truer representation, we can come to better understand ourselves."

Whiteness is the equal of beauty, that's time honored and time tested. All over the world today people long for light skin, light eyes, light hair, it's sort of the dirty little secret that the people of color are embarrassed about, but that won't stop them from trying to acquire it. The very word "fair" comes down to us as a synonym for beauty itself. Few outside of our circles want to admit this, but everyone knows it. It's why they struggle so hard against us, it's a natural law that they can't abide. It is the prestige and inherent excellence of Whiteness itself that they want to overthrow. They want to take this exalted state of being and make it seem shameful and horrible and second-rate.

"My field is dominated by white folks. We have known for a long time that we have a diversity problem, and one way to address this might be to emphasize what an integral part people of color played within ancient Mediterranean history."

The next time you see that movie where the blacks and the browns dominate the agora in a dark toga, or when they lead the defense of Thermopylae, or they wax eloquent in the Roman Forum, remember that it is not just this popular form of entertainment that has succumbed to this odious trickery, the high priests of the academy are in on it too. The seemingly erudite professor dedicated to abstraction is a fellow traveler of the sullen eyed antifa thug; the museum curator with the million dollar grants is running interference for the Black Lives Matter criminal who splashes blood red paint on the icon of Christopher Columbus; and the art journalist who forms the wicked intelligentsia of our time is just the same as the afro laden warlord who sets up an autonomous zone that the police won't go near. This of course is the real treason of the clerics, the treason of people who are supposed to celebrate our race and civilization and instead trash it in order to make it disappear.

The glory that was Greece, the grandeur that was Rome?

Perish the thought bigot.

And just take a look at the bust of wily Odysseus or strong hearted Agamemnon with the black face and the yellow eyes, or the multi-hued hair and the red eyeliner making them look like common streetwalkers and know in your heart that if this goes any further an imperishable legacy will perish in the dust.

[Jim Mathias]

Propaganda of color to me is the corruption of a higher culture. The hatred for White culture that comes across by this propaganda can't be missed, either, it's becoming obvious to even the dim-witted now, that's how blatant and pervasive it is. As the creators and amplifiers of this propaganda, Jews are overplaying their hand and making Whites much more receptive to a pro-White, progressive perspective that Cosmotheism and the program of the National Alliance offers.

Let's continue to make it available to other Whites, they may respond more favorably at this low point in our history. And remember! We're looking for quality, not quantity at this time.

[fluxmaster]

I can't speak for the particular exhibit referred to or the motives of the exhibitors, but I'm all for historical accuracy in this regard. We are all accustomed to seeing black-and-white photographs of unpainted white marble statues, and black-and-white photography of white marble statues does give them a very life-like look, whereas a color photograph of a painted marble statue may look gaudy to us. But that is only because we have become accustomed to seeing people photographed in black-and-white, so it looks normal to us. But ancient people had no experience with black-and-white photography, so it is unlikely that they would have preferred unpainted white marble statues, and they had no experience with color photography, so it is unlikely they would have found painted marble statues gawdy.

The particular exhibit referred to may very well have been intended to put out a subtle anti-White message, but that shouldn't deter us from forming an accurate view of our past. I don't mean to sound trite, but just because our records of the past consist largely of white marble statues and black-and-white photographs doesn't mean that the past wasn't a colorful time, and colorful here certainly doesn't mean anti-White.

[Douglas Mercer]

The long and the short of it is that this Western Civilization, these Greeks and these Romans, with their history, their politics, their art, and their philosophy, had and have an overwhelming glamour and prestige. They are the benchmarks and the hallmarks, the gold standard, high water marks, and yardsticks by which everything lesser is finally judged. The statues in question symbolize this conquest of culture: pure, White, proud, noble. And they now want to take it down and make it all fruity and perverse, and lurid, and garish and gaudy, to have you believe that those ancients were really as dark as the latest graduating class at an historically black college. They want you to think Homer was black and Achilles was black, and Athena too, and that those White statues we adore were really painted up in all the rainbow colors of a San Franciso Pride festival. Because this Western Civilization you know--it was not hallowed or sacred or serious, and certainly not based--it's racist.

[Douglas Mercer]

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