By ESTHER JULIA P^' '
Visible in many of the works of "modern art" is the hand of the masters
of communism. To appraise this type of art as Eggheadian is to lose sight
of its true intent and purpose, and to ignore its deliberate perversion.
IN THE STORY, "The Emperor's
Clothes," by Hans Christian Anderson, the Emperor, stark naked,
marches proudly down the street between rows of His people. The admiring crowds murmur their appreciation
of his beautiful new robes, their soft
coloring, and their magnificent texture. Two thieves pretending to be
tailors had convinced the Emperor
that they could weave for him the
most beautiful robe in the whole
world, but that the cloth could only
be seen by wise and intelligent
With huge sums of money obtained
from the gullible and vain Emperor,
they pretended to weave these beautiful new textures. So skillful had they
been in convincing the palace retainers that failure to appreciate their
handiwork would brand one as having
no taste, that not a single courtier had
dared raise his voice to protest against
what was obviously a swindle. So,
while the gullible Emperor marched
down the street naked, the perpetrators of the hoax rolled on the palace
floor in helpless laughter at the success of their scheme.
If the beloved Danish weaver of
children's fairy tales were alive today,
he would be astonished to see that his
delightful fable has been taken over
literally by swindlers in the field of
so-called "modern art." Here we find
an identical parallel—the perpetrators
of the hoax of "modern art" have generally convinced the gullible that failure to appreciate their new forms of
art expression brands one as hopelessly unintelligent and behind the times.
In fact, the situation is almost identical in that blank canvas is actually
exhibited as art!
This may sound very funny, but the
sickening story of decadence, perversion, and revolutionary purpose behind the introduction of modern art
to America is far from humorous. So-
called "modern art" had its origin in
socially sick and decadent European
art circles before the first World War.
From them sprung Cubi»m, Dadaism,
Futurism, Symbolism, Expressionism,
In the social ferment that was to
produce communism, fascism, and
nazism, there arose artists who plotted
to use art as a means of power over
the masses. Since its inception, "modern art" has been revolutionary, not in
the sense of bringing new beauty and
craftsmanship to the world, lint in the
deliberate turning of the human mind
from what is true, good, and beautiful
to the contemplation and worship of
ugliness, disordered visions of madness, "social protest," and the use of
esoteric and occult symbols for reality.
All over Europe the revolutionaries.
the dabblers in the occult, and the
demented overturned the traditional
forms of beauty and art. They boldly
proclaimed themselves the new elite
of the world of art. They formed into
tight little groups, issued manifestos,
and tirelessly promoted their "new"
In 1920 the Dadaists held their
most spectacular exhibition under the
direction of Max Ernst, the artist. The
entrance to the exhibition, which was
held in Munich, was through a public
urinal. A young girl dressed hi J
as if for her first Communion, ''
obscene poems in a loud voice s
ture of this earlv Dada exhibition's'-
an aquarium full of blood-red "T^'>
which were an alarm clock, il ^J,' '
hair, and an arm carved in y^,-'''.''
Visitors also were invited to 9
txe and chop at a large block 0> u,
rrt , • ,,itt*Hi'oii
fhe general impression fi"'
this insane exhibit was to conv'i11 ('
ordinary visitor that he, too. h;"'>,'"(S('
mad. Indeed, some of the visit'"'"
ritish novelist, J^'J
d it for a London"
go mad in the sense ol
anger. They seized the axe
eeeded to chop down the vv I
exhibition before the police llt\L
The Dadaists were elated t1*^,
proved their point that the t ~ '
11 I j. r ,l,,trI':l"noi
world was in a state of comp"-1 lr
"ess. ,. ,x ,'
The Dadaists were not a'°ne.AetiV(
leashing perversion and inaclo ; l
the world. In June of 1936 '"L. ]"
realists held an exhibition in k«n,a 1
The noted Bri':-
He said in part
The Surrealists stand for violeflj
neurotic unreason. They are W
valient. You catch a glimpse
the f the deepening twilight
barbarism that may s blot I
sky until at last humanity 6n4
in another ltmi- ni^lil. . . .
Prophetic words written "1
twenty years ago! Part and Pj
those helping to bring on ' JL
night" were the following ai'l^jr
J.T. Baargeld. founder of <3m
ists, who helped establish the
nist party in the Rhineland.
F w 19 font xi News, Febrvt