March of the Titans

The following paragraphs of the appendix of March of the Titans: The Complete History of the White Race by Arthur Kemp caught my attention:

Homeric references to race

References to race abound in the works of Homer, the blind poet to whom credit is given for the two classic epics, the Iliad, and the Odyssey.

The Iliad – Book I. “While he was thus in two minds, and was drawing his mighty sword from its scabbard, Minerva came down from heaven (for Juno had sent her in the love she bore to them both), and seized the son of Peleus by his yellow hair, visible to him alone, for of the others no man could see her.”

The Iliad – Book XV: “Then she said, “I have come, O dark-haired king that holds the world in his embrace, to bring you a message from Jove.”

The Iliad – Book XVII: “As a cow stands lowing over her first calf, even so did yellow-haired Menelaus bestride Patroclus.”

The Odyssey – Book 4: “There fair-haired Rhadamanthus reigns, and men lead an easier life than any where else in the world, for in Elysium there falls not rain, nor hail, nor snow, but Oceanus breathes ever with a West wind that sings softly from the sea, and gives fresh life to all men.”

The Odyssey – Book 13: “Trust me for that,” said she (Minerva, talking to Odysseus),” I will begin by disguising you so that no human being shall know you; I will cover your body with wrinkles; you shall lose all your yellow hair; I will clothe you in a garment that shall fill all who see it with loathing.”

The Odyssey – Book 24: “On this Minerva came close up to him and said, “Son of Arceisius, best friend I have in the world- pray to the blue-eyed damsel, and to Jove her father; then poise your spear and hurl it.”


Hippolytus by Euripides

Antistrophe: “Was wasting on the bed of sickness, pent within her house, a thin veil o’ershadowing her head of golden hair.”

Phardra: “Away to the mountain take me! to the wood, to the pine-trees will go, where hounds pursue the prey, hard on the scent of dappled fawns. Ye gods! what joy to hark them on, to grasp the barbed dart, to poise Thessalian hunting-spears close to my golden hair, then let them fly.”

Hippolytus_Sir_Lawrence_Alma_Tadema

Chechar’s note: Above, The Death of Hippolytus (1860) by Sir Lawrence Alma-Tadema. Note how virtually all modern artists have been clueless about the fact that the Greeks were depicted as Nordish blonds, not black-haired Mediterraneans, in the original texts—even the modern artists who loved the Greco-Roman cultures.

(For the rest of Kemp’s appendix, see: here.)

Grand Orc of the Crap Arts!

It is true that the video-series by Roger Scruton (“Why Beauty Matters”) and Scott Burdick (“The Banishment of Beauty”) expose today’s charlatanism in the Art world. But both series are marred by the constant presence of non-whites.

We need an identical message but this time filmed by someone like Craig Bodeker.

This said, what Scruton and Burdick proclaim is pertinent when we try to approach a sophisticated work like the classic The Story of Art by Ernst Gombrich, of Jewish ancestry, which I’ve just read.

In the final two chapters of the later editions of The Story, Gombrich speaks highly of the most soulless form of architecture that both Scruton and Kenneth Clark complained about. To boot, in these later chapters Gombrich reproduces several anti-art works as if they were genuine art, like Alexander Calder’s Universo (above).

The bullshit that Gombrich says in these last chapters was already refuted in “Why Beauty Matters.” For readers of TOO with good memory, perhaps they will also remember a Michael Colhaze article with the following vignette:

Both of us have no truck with Modern art and knew the artist only vaguely by name. Lucien Freud it was, grandson of you-know-who, and his hams about as uplifting as a dead rat under the sink. As we stood in front of one, an uncouth male nude reclining on a smutty bedstead with legs spread wide open while scratching reddish genitals dangling above a cavernous anus, my friend cast a look around and said: Grand Orc of the Crap Arts! Never had any sense of beauty, and never will! [image at TOO article]

I reproduce the anecdote again because Gombrich mentioned favorably the grandson of you-know-who as if he was a legit artist. So Gombrich put artistic junk at the end of his book (one more example: a whole unfolding triptych of one of Pollock’s nonsense paintings) but did not say a word of Parrish, the pictorial emblem of this blog, or about the art of Alma Tadema or the paintings of the pre-Raphaelites.

But let’s not dismiss all of Gombrich’s book: it is very erudite and often insightful. However, it is clear to me that he ignores the real art created in the century when we were born: genuine art that became heresy when these very sophisticated pundits monopolized Art Criticism (just as another Jew, Franz Boas, monopolized Anthropology).