via Kevin Alfred Strom
The inhuman concrete and glass rectangles that pass for architecture
today are hideous, uglier than rat-mazes. They do to the spirit of
European man what a ten-foot cage does to a timber wolf. There was a
time when our best homes and public buildings expressed something about
our souls. Though in dollar terms we were much poorer then, time and
effort were spent and infinite care was taken so that our culture and
our spirit shone through in every stone, every cornice, every column,
every window. There was a time when beauty lived.
Frank Harris said “Admiration of beauty is the highest impulse in our humanity.”
What have we done with this highest impulse today? Today we take the
beauty of the human body, what ought to be the greatest and holiest
thing to us, and use and abuse it to create distorted, degrading images
on a thousand million pages of the crudest, most disgusting, and hideous pornography, even interracial pornography, ruining countless lives in the process.
“Admiration of beauty is the highest impulse in our humanity.” What
do we now teach our young people to admire? We give awards — one,
ironically and perhaps not coincidentally, even called the “National Vanguard” award,
stealing our honorable name for a dishonorable purpose — to a
homosexual female to reward her for her perversion and her spreading of
that perversion to others. We shower honors upon a man who cut off his genitals
and dresses his scarred and mutilated body in women’s clothes and
falsely declares that he is a woman. This is not admiration of beauty.
This is not the highest impulse in our humanity. This is a diseased,
Jew-induced worship of all that is sick, deformed, twisted, and hideous.
Thoreau thought that beauty was perceived by the higher and more
morally evolved type of human being, and not by the lower, saying: “The
perception of beauty is a moral test.”
Nietzsche told us that “The voice of beauty speaks softly; it creeps only into the most fully awakened souls.”
The great mathematician Henri Poincaré saw a direct link between the
perception of beauty and the pursuit of scientific truth. He said: “The
scientist does not study Nature because it is useful; he studies it
because he delights in it, and he delights in it because it is
beautiful. If Nature were not beautiful, it would not be worth knowing,
and if Nature were not worth knowing, life would not be worth living.”
The inventor and futurist Buckminster Fuller, like Poincaré, saw
beauty in the inherent structure of the universe that was revealed in
solving science and engineering problems. He told us: “[I]f the solution
is not beautiful, I know it is wrong.”
Emerson perceived that the ideals of beauty are within us, saying:
“Though we travel the world over to find the beautiful, we must carry it
with us, or we find it not.”
Nowhere is the war on beauty more evident than in the field of art.
One function of art is to actualize our inner picture of the
beautiful and so to lend reality to the ideal picture of what we, as a
race, can become. In artworks representing the indigenous gods and
goddesses of Europe, such as the Pythian Apollo, we find the expression
of this idealism again and again. “Modern art,” heavily influenced by
Jewish critics, media power, and commercialism, even when it is
representational of the human form, by its own values either must
include non-Whites or blur racial distinctions altogether, showing
raceless or “schematic” humans — and is thus incapable of expressing our
There is a very revealing four-part video series, viewable on nationalvanguard.org,
by the painter Scott Burdick. In it, he shows us through his own
personal experience and investigations what exactly it is that makes
“modern art” so empty and so hideous. It has little to do with all the
puffed-up “intellectual” theories put out by the largely-Jewish art
critics. And it has everything to do with what Jews hate. Not what they love — what they hate. What they hate is beauty. What they hate is us. What they hate is our love of beauty, which they conflate, perhaps correctly, with our feeling of repulsion toward them.
Don’t be put off by the fact that Burdick never utters the word “Jew” and goes out of his way — way, way out
of his way — to show traditional Western art, some of it his own, that
depicts non-Whites. It’s as if he’s saying “see how non-racist I am,” to
deflect attention from the fact the the rising Classical Art
Underground he depicts is substantially Whiter than rural New Hampshire.
He nevertheless masterfully skewers the modern art establishment and
their hatred for beauty — and their literal banishment of it from their
galleries, museums, and literature. With calm logic he analyzes the
common characteristics of the works that are sought out by these culture-distorters, and those that they reject.
What’s their real basis for praising or rejecting a work of art? It
isn’t abstract versus representational art — it isn’t nudity, or the
human form, or its absence — it isn’t fine-grained materials versus
rough materials; no, Burdick shows us that none of these determine what
is accepted and what is rejected. In the “intellectual” theories (with
Jewish / Frankfurt School roots, though Burdick doesn’t say so) that
must be internalized by anyone wishing to rise in the modern art world
today, it is beauty itself that must be rejected and ugliness or nothingness which must be praised, as the artist pays obeisance to the “intellectuals” and their “theories.”
That’s what it’s all about. Just as young White men are encouraged to
murder their own masculinity today, and young White women are
encouraged to be barren or to kill the new life in their wombs, so the
Jews work to murder all that we call beautiful.
Among “modern artists,” the Jewish ones produce ugly garbage because
in their hearts they hate us and all we call beautiful. The White ones
produce ugly garbage because they’re alienated from themselves and their
roots, or they’ve found a profitable racket rooking fools and pleasing
Jews, or both.
As I said in 2004, our perception of beauty guides our choice of a mate, and so shapes the future of the race:
“The man or woman with a high or ‘noble’ forehead is better-looking
to us than a man or woman with a steeply-sloping forehead, which we
instinctively view as primitive and ugly, whether we use those words or
not. The protruding jaw, so common in Africans and Australasians, or the
underdeveloped chin and outsized nose common to some Semites, to
European eyes give the human profile a convex and snout-like appearance,
and hence are bars to beauty as we perceive it. We may not be conscious
of the reason, but our instincts, our souls if you will, are telling us
that the highly-evolved is beautiful and the primitive-looking is not.
“The most primitive human races have rather stiff and kinky hair, and
so, to the European, softly curling, waving, or smoothly soft and
straight hair are the most beautiful. Again, we instinctively admire the
advanced traits and shrink back from the primitive….
“[I]nsofar as those ideals are favored in our selection of who will
be the mothers and fathers of generations to come, they will indeed be a
glimpse of those unborn generations, a glimpse of what will be, a
glimpse of the future.”
Every now and then one encounters something truly, incongruously
beautiful in the middle of the Afro-Corporate militarized theme park
that America has become. A wildflower growing from a crack in the filthy
sidewalk, next to a junkie’s discarded needle. A forgotten painting of
surpassing beauty, languishing in a dusty second-hand store. A White
mother and child like something out of Botticelli, walking amid the
gibbering excuses for primates on the streets of my city.
Marcus Parker said “When asked if I am a ‘White supremacist’ I answer ‘No, I am a beauty supremacist.'”
I care about the aesthetic beauty of our kind. I care about what our kind can become and is becoming.
I care about our unique ability to imagine greater things than have
ever been done before — and then do them. To imagine more beautiful
things than have ever been seen before — and then create them. I care
about these things much more than I care about how the food’s going to
get on the table this week.
For me, the greatness and beauty that I see in the faces and the high
art and hear in the poems and words of my own people is the motivation
for my life’s work. All I hold dear would be destroyed if we mixed our
blood, even with that of the admittedly civilized and intelligent
Orientals. We of European race have evolved into something special that
must not be lost, and I believe we have a destiny to fulfill.
Goethe said: “Beauty is a manifestation of secret natural laws, which
otherwise would have been hidden from us forever.” This is the truth
which our enemies wish to conceal: When art or love or inspiration or
dreams reveal beauty to us, we are glimpsing for a moment the ideal
world that our race can build if we believe in it with
all our souls and fight for it with all the fanaticism and strength in
our minds and bodies. In those moments when beauty strikes us, we are
perceiving a more highly evolved future. To put it in religious terms,
we are perceiving God. That is the most important thing I want you to
Dante told us “Beauty awakens the soul to act.” I believe that to be
true. That is why I believe that we will win. The anti-cultural ugliness
of the modern, Jewish world cannot stand. It is unnatural to us. Once
we show our people, even those who have been misled, the true
alternative — a world of unimaginable greatness and beauty which can be
ours — something deep in their souls and more inspiring, powerful, and
Godlike than anything they have ever felt before, will unleash a
righteous, cleansing whirlwind upon this Earth, and then the triumph of
beauty will be nigh.