Artwork, in its various forms, has been a critical component of all great civilizations. Historically one of its primary functions has been to connect people to the realms of the divine. Although much artwork is created using material (songs being a notable exception), good art is not materialistic, though that is the nature of our “art” today. Movies, advertisements, pop songs, ugly paintings, pornographic performance pieces, and the rest all serve to bring the human soul down to a very base level, instead of inspiring it to greatness.

The long history of the White man is filled with art. The earliest known paintings were estimated to have been created 17,300 years ago in France’s Lascaux caves (below).

Much of the artwork over the aeons has survived to this day, but it’s often hidden from sight in private collections or locked away in museum storage. Though we can visit some exhibits and listen to a tour guide or read the descriptions, we really do not have a good idea why the pieces were created and the function they served. Were statues of gods and goddesses commissioned by the elite and painstakingly sculpted to trick people into submitting to the statues and statutes of a state religion? Were they created because our “primitive” ancestors foolishly thought divinity actually resided within the idols? Or did this early art serve as complex symbols, representing abstract principles in a way that humans were more easily able to grasp?

The seated figure of Shiva above is symbolically very rich. He’s also “Satanic”, as he is holding the devil’s pitchfork and has a cobra coiled around his neck. However, Christianity with its tails of evil serpents and eternal damnation was not even a blip on the radar of history when Lord Shiva was being worshiped in the Hindu Pantheon.

The Vedic Aryans in India did not originally worship idols, but rather invoked their gods through performance and sacrificial ritual. Idol worship became popular under their rule later on as more tribes were incorporated into their empire, and this practice continues to this day. Perhaps “the masses” needed some assistance and simplification to grasp the realm of the divine. An idol is just a form that one uses to concentrate and meditate upon, which has the ability to connect us with the ultimate reality that lies beyond our limited senses.

The Bible, Quran, Greek and Egyptian myth all tell of humans being created from clay, but here we see gods being created from clay, made in the image of man. Regardless of the reasons and origins of “idol worship” (if that truly is how it should be described), the practice was widespread in the ancient world.

In Sumeria, the “Sum-Aryans” had statues of blue-eyed deities (above). And further East, the Buddhists had and still have idols dedicated to their blue-eyed man-god (below), who is often portrayed with a swastika on his chest.

It was certainly not just men who were being depicted in the art of the ancient world, as goddesses would show their heavenly figures. Below is a representation of Ishtar, the Babylonian goddess of fertility, love, sex, and war.

Artwork in general, and sculptures in particular, were brought to a whole new level of beauty and sophistication by the Greeks and Romans. Below is the famous Laocoön and His Sons, created by Greek sculptors out of marble over two thousand years ago, excavated from Rome in 1506, and housed in the Vatican ever since.

The Greco-Roman gods and goddesses were often made to be “larger than life”, with massive temples created to house their gigantic statues. It was during this time period that certain religious fanatics began to make their indelible mark upon history, condemning the “idol worshipers” of the pagan world. Their Ten Commandments strictly forbids such artistic evil:

Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. ~Exodus 20:4

Tellingly enough, almost no authority that supposedly honored this law actually followed it. Catholic churches all have an idol of their god being tortured and killed, which is a very strange way to perpetually represent a deity. Anyway, the Catholic church must have realized the importance of idols and other artwork, as they amassed a great collection of pieces from the ancient world and commissioned new ones to be created. It seems, though, that they either could not find many talented artists until the Renaissance or were intentionally creating awful art, such as “Crucifix with the Stories of the Passion” from around 1200 (below).

Having a large amount of money at their disposal, they eventually were able to hire some great masters to create really awe-some artwork to enhance the glory of the church.

As Michaelangelo (Angel Michael) was working on “The Last Judgment” (above), Pope Paul III’s Master of Ceremonies, Biagio da Cesena, commented “it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully.” Michaelangelo put Biagio’s face on Minos, judge of the underworld, with donkey ears and a coiled snake covering his genitals. The Pope actually allowed the painting to be completed in 1541 with the original nudity. The fresco only lasted 24 years in the Vatican, until the Council of Trent decided to ban all nudity in religious art. Cardinal Carafa and Monsignor Sernini led the “Fig Leaf Campaign” to remove offending art. Later Pope Innocent X (1644-1655) and Pope Clement XIII (1693 –1769) went on a crusade to cover the genitals of many nude statues with metal fig leaves. More recently, Pope Pius IX (1846-1878) worried that the site of a phallus might arouse lust within the holy men within the Vatican, so he whacked the penises off of many statues and covered their shame.

There is a funny story from the 1950s, which I cannot verify, concerning how the Vatican loaned castrated Greek and Roman sculptures to a US Museum. After shipping the statues, they also shipped the missing “parts”, which they had kept in storage, but without any details about which penis belonged to whom. US Customs received this package of packages and was about to send it back, before consulting with a fine arts expert who wanted to restore the penises statues in a secretive project.

Though it had undeniable power, the Church did not wield complete control over all artwork being produced. Many great masters emerged during the European Renaissance, creating an amazing variety of non-religious or even outright “pagan” works of beauty. These masters drew their inspiration from the ancient world, and their work in turn inspired later generations of Europeans.

“Thor’s Fight with the Giants” (above) was painted in 1872 by Marten Eskil Winge, a Swedish man known for his depictions of Norse gods and goddesses. The details in works such works are incredible and our computerized images do not do them justice. But we can still “zoom in” and see that the god of thunder is wearing a belt with a swastika on it.

Paintings such as these take a great deal of skill and patience, but the effect is incredible. Around the turn of the 19th century, however, new “styles” of art began to emerge. Skill and detail were no longer admired, and instead weirdness, abstraction, and nonsense were praised. This type of art was perfect for jews, who could not match the excellence of artistry exhibited by Europeans. Jews also embraced this degenerate artwork because of their hatred for Aryan beauty and their desire to drag it down.

Weimar Germany was truly a center for grotesque art. The art authorities of the time embraced painters such as Max Beckmann, who painted “Descent from the Cross” (above), and turned away aspiring painters with real talent, such as Adolf Hitler. Below is Hitler’s “Mother Mary with The Holy Child Jesus Christ”.

Deterred as an artist, Adolf Hitler eventually turned to politics, seeking to revive the spirit of his folk. One of the highly criticized moves of the “Nazis” was to ban the degenerate art that had thrived in the Weimar Republic. In its place, real art saw a revival with masters such as Arno Breker.

While pornography was not allowed in Germany, nudity was not a problem. Arno’s statues celebrated the natural beauty of the Aryan people, using the naked human form to highlight the natural grace and beauty of Aryans, rather than dragging it down into carnal perversity.

Unfortunately, the great artistic revival of the National Socialists was short-lived, as Europe was decimated by the second World War, which saw jews emerge from the “Holocaust” as victors.

They have been controlling the art world ever since, promoting all sorts of terrible pieces, such as “The Black Madonna” seen below, created by an African using elephant shit.

We cannot allow ourselves to worship such shit. We must elevate our people to new spiritual levels through the artwork of our folk, such as Vig’s “Nobility” (below), which was dedicated to the Renegade Tribune.

To further our goals of artistic elevation, I created WhiteArtwork.com. It is an online gallery and magazine dedicated to all sorts of artwork from White Europeans, both past and present. We seek to highlight beautiful pieces that require great skill and craftsmanship, rather than the junk art that we are spoon-fed by the established “authorities” within the art world. White Artwork will feature paintings, drawings, sculptures, reliefs, jewelry, and more. We will also share links, quotations, videos, and articles that relate to the art world. At this early stage, things are still a bit up in the air, so please contact me if you have any big ideas for how we can create, collaborate, and expand. We endeavor to reinvigorate the folk soul of White people around the globe, re-awaken the great European myths, bring people back to a state of spiritual and mental health, inspire them toward artistic creation, and lay the groundwork for the new Renaissance.