Douglas Mercer
November 26 2023
In the book Nostalgia For The Future the author relates the history and wanderings of proscribed National Socialist Art and an interpretation of its function in the ecosystem of the German culture. Given the inordinate amount of energy the Jews give to art that was “stolen” from them by the National Socialist the most eye-popping thing in the book is that the American government was the biggest art thief of all. Even by their official rulings the relevant U.S. Army personnel were kleptomaniacs on an order of magnitude scale when it came to “Nazi Art”; but the ones who engaged in the theft went far beyond what was prescribed and for months on end they were confiscating any piece of art they liked and hauling it back to America for future and often personal use. Given the outrageous Jewish penchant for projection this of course is no surprise. The Americans destroyed the smooth glide of White people to their destined paradise so compared to that what’s a painting here or there?
Of all the hidden National Socialist Art none has achieved the illicit fame of Lanzinger’s Der Bannertrager (The Standard Bearer) and for good reason: it is breathtaking and majestic. Infamously dismissed by a go to guru of German Culture as displaying the ludicrous nature of “Nazi” German art beyond the definition of kitsch as well as the depth of evil lurking behind it---it is of course nothing of the sort. Only an ideological pervert or a Jew (a Jew is by definition the former) could say such a thing which amounts to little more than a non sequitur. Rather it is the painting of paintings, the work sine qua non which encapsulates the greatness of the man and the movement. A White Knight as of old he bears the banner of his people; eyes set forward his relentless gaze is only on the future, always the future. A future where that White paradise is in sight.
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Currently under heavy lock and key at Ft Belvoir it might as well be in a Jewish dungeon. They quake and quail and their black hearts fall directly into their boots when they think of it. One Army Officer said of the tranche of National Socialist Art housed there: “this aint hell but you can see it from here” which explains the Jew cold sweats and shudders. Indeed, they take those black hearts in their hands each and every time they think of it. The painting has only very rarely seen the light of day since the end of the war. For good reason. The Jews have no desire to see the true, the good and the beautiful escape their clammy and bony clutches. That it is extant in reproduction is really more than they can bear, for in the flesh (so to speak) it would become a shrine in itself and anywhere it was would be a sacred location. Indeed, since being pilfered from its rightful owners (the National Socialists) it has been shown publicly only twice, both times circumscribed by Jewish propaganda in the form of endless words, words meant to make sure that the viewer did not have the natural response of awe. No, they made sure to hold the viewer’s hand and instill in them the sense that this was an evil portent (you can see hell from here by Yahweh!), and a talisman of horror---despite what their eyes were seeing. The first was the United States Holocaust Memorial Museum’s Travelling Exhibition (State Of Deception: Power of Nazi Propaganda) and then at the Altes Museum in Germany in 1999. It was at this latter that the Jews took extraordinary due care to hem and fence it in, to caveat it to the skies, to mitigate it, to contextualize it, to turn it from a glorious work of art to a sounding board for Jewish ideology. For you see in Germany they know their Nazis well and they know the explosive nature of that with which they deal; and they have protocols and procedures and step by step manuals meant to stem the inevitable fervor and ensure that nature never again takes it natural course.
They say that in the year 1999 there was a “coming out party” for a whole host of secreted away National Socialist art but, according to the Jews, the edifice where the event happened has the dubious distinction of having become a pilgrimage for “Nazi fetishists.” The “dark chapter” occurred because the curators made the cardinal mistake of just installing the works and not layering them with a thick mist of Jewish verbal fog. That is there was not “sufficient contextualization” which violated the first rule of unwritten taboo. And, as such, the exhibit drew the scorn of the German (ie Jewish) media and always mushrooming museum professionals. The same went for a show of Arno Breker’s works a few years later. Too much Breker—not enough Jewish cautionary fairy tales and fallacious fables.
When the Standard Bearer made its way to the Altes Musuem the Jew toadies there were most certainly not going to make that mistake. Once bitten, twice shy, and always Jewish. They went to vast lengths to make sure that no one was under the illusion that this was a work of art to be studied by its own lights and coolly or pleasingly appraised. No, it was not a work of art, it was a dastardly emission from the depths of hell, a demon ridden object that must be gazed on only under the special care of trained professional Jews or hopeless Jew lovers. No, at this showing there was strict observance of the protocols, all the rules had sub rules, the primary and subsidiary clauses were followed to the letter, the minutia of the proper nomenclature was hewed to strictly, the bibliographies had bibliographies, the foot notes had footnotes, the scholars had minders, the curators were curated, and all the Is were dotted and all of the Ts were crossed—that is not one single thing was left to chance lest some unreconstructed rube would wander in and look in awe struck wonder at the spellbinding monument before him. And wonder what kind of man could elicit that?
Naturally all the press coverage was positive which is proof positive that the press in Germany is Jew run. And it turns out they didn’t just contextualize it they did everything except attach an alarm and a siren to it, send up perpetual flares and have it ringed by double sided barbed wire with that hazardous waste symbol in flaming red, post death heads on the ground about it, and make everyone who entered where a double layered hazmat suit. No, they did not quite go that far but, trust me, had they, the press would have been quite positive in Germany.
What they did do was quite clever in Jew clever kind of way, that is at the exhibit they did not even include it in the exhibit. To make it part of the show, however covered in rationalization and ex post facto explanations and Jewish special pleading, that would have made it, somehow or other, art. No, it’s not art. It’s devil possessed toxic material that is liable to combust the viewer’s brain with the ideational minions of Beelzebub. It is a contamination and a ritual pollution that, if looked on too closely or with an excess of dispassion, will infect the viewer with virulent microbes that might one day coalesce into pride of race, the White race. And they certainly were not going to let that happen so what they did was they hung it as a mere component of wall text outside the section entitled The Violence Of Art. That is when you went to see the art in the Violence Of Art section you were straightaway confronted with Lanzinger’s masterpiece as a mere adjunct to the room and it was bathed and swaddled in words that told you what to think and what to feel. And it was not only framed by written text by but by incessantly scrolling and mind locking text and by vitrines loaded up with even more messaging. That is the poor viewer was carpet bombed with words and images and cabinets of horror filled with the standard issue off the rack “contextual material”; it was said that in this way the “tainted” art was kept away from canonical art in a way that no spectator could mistake it for an independent part of the installation (Yahweh forbid!); thus safely designated as mere propaganda and artifact it functioned in the exhibition as a mere political prop or ideological signifier rather than as an autonomous work of art. That is safely ensconced and sunk in an acid bath of Jewish lies they gingerly felt that it would be alright for once, just this once, to let the paying public have a look.
Safe to say the press coverage in Germany was positive.
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Who are they kidding? What are they trying to prove? What does all this Jewish squeaking and gibbering get them? Due in part to the squeamishness that the Jews regard it with, but more with its intrinsic and straightforward simple majesty, the Standard Bearer has acquired a fame all of its own. Of all the forbidden “Nazi” art it alone is world famous, an icon among icons, a giant of the earth. No amount of vain verbiage of vitriolic video can vaporize or vitiate that. No cabinet filled with warnings can make its fame wane instead of wax. And you can see why. A more evocative and arresting image is sacredly to be imagined: Hitler as a crusader, Hitler as White Knight. Pretty prefect is it not? But this is no Christian Crusade, this is a Teutonic Knight in a crusade on behalf of the German people. This is the Knight of Old making that valiant stand for his people. This is the Knight tilting at destiny alone; this the hero with a single face, this the hero garbed in pure immaculate and ritual White standing upright as the leader and savior of his people; his gaze is resolute, his blue eyes with uncanny implacability and steely focus they cannot be distracted by the flutterings of time; only the goal, ever the goal, the growth and eternal prosperity of his people. When you see it today at first it looks like he is crying as a whiteness is just below his eyes, a rip in the fabric; this is the result of an American GI who, maddened by Jewish propaganda, sliced the image of the face with a bayonet; that man’s great granddaughter was shacked up with a negro before he bolted and left her with a black eye and a bawling black baby; but perhaps the image of a tear is somehow appropriate too; our eternal Uncle warned us all that should he not prevail at the time the world would be plunged into total darkness, and so it has. But still the eyes give off their purpose and their vision; and in his sacred right hand he is bearing the banner that holds the ever-present hope of our people; they say that at the rallies he would personally consecrate new flags by having them touch the blood of the blood flag of the initial attempt at German Revolution. And thus every new flag would carry on the awesome purpose of the old fighters, and the new fighters would know from whence and whom they came. Blood of blood, a German sacrament, a White witness, borne endlessly into the never-ending blood of the future. Just try to contextualize that.
Bearing The Banner
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Douglas Mercer
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- Joined: Tue Mar 28, 2023 7:29 pm
