Posted by Sam Fenny - Memes and headline comments by David Icke Posted on 21 February 2024

Why is an Art Gallery Inserting Fake Images of Climate Change Into its Classic Paintings? To sell the lie. Simple

You may have seen the story a few weeks back about the eco-fanatics over in France who entered the Louvre, approached the Mona Lisa and sprayed soup all over its protective glass barrier as part of what they called a “food counterattack”. The West’s “agricultural system is sick”, they proclaimed, something which meant that “Our farmers are dying at work”.

Cynics might say the true reason so many European farmers are actually dying at work at the moment is because they keep on committing suicide in their barns on account of wrong-headed and ruinous EU-led attempts to force the “sick” agricultural patient in question into ruder green eco-health via mountains of unsustainable bureaucracy and other such quasi-Marxist faff, but the protesters did not agree. “What is more important?” they asked. “Art or the right to healthy and sustainable food?”

“Art!” say I, standing in front of the Mona Lisa myself and happily chomping on chocolate (milk chocolate, just to be clear, produced direct from the lovely white fluids of methane-belching cows).

New Age Thinking

Distasteful though these adolescent antics are, it might actually be better if such temper-tantrum toddlers doused all great paintings in soup rather than painted them all systematically green with their increasingly extreme ideologies instead, as has recently occurred with a new exhibition of the works of the esteemed German Romantic painter Caspar David Friedrich (1774-1840). In some ways, the physical vandalism would actually be less damaging than its ideological variant. At least the soup-sprayers are outright criminal outsiders; the history-rewriting men with green paintbrushes are the galleries’ actual curators.

Friedrich is best known for his uncanny landscape paintings, in which the German and Baltic landscapes he depicted become imbued with a real sense of pantheism, whereby the human onlookers portrayed become measly incidental Rückenfiguren (backwards-facing figures) by comparison with the mighty peaks, twisted trees and sheer-faced cliffs of ice. Although compositionally in the foreground, the puny humanoids are really the mere background to the far vaster canvas of water, rocks, clouds, fields and skies. Thus, if you squint a bit, they almost represent the sort of post-human world many a contemporary eco-cultist of the Patricia MacCormack or Voluntary Human Extinction Movement-type might like to see come true for real, a planet from which mankind’s detrimental influence has been removed forever, and where Nature has reclaimed her rightful rule: the pre-industrial and the post-industrial come together happily as one.

The most celebrated canvas of Friedrich is undoubtedly his Wanderer Above the Sea of Fog (c.1818), owned by the Hamburg Kunsthalle (i.e., Hamburg Art Gallery), which is currently celebrating the 250th anniversary of the painter’s birth with a new show, ‘Caspar David Friedrich: Art for a New Age’. As the exhibition’s title suggests, the whole thing is intended as one big exercise in shoehorning the work of a man who has been dead for nigh on two centuries into the chief political obsession of those within the New Age New World Order who now rule over us: climate change.

Fog Off!

Wanderer Above the Sea of Fog is, appropriately enough for our sad era of art activism, already covered over in something of a pea-souper: if you don’t know it, it’s the one where a lone climber, dressed in period Young Werther-style blue frock-coat and clutching a walking-stick, stands atop some jagged mountain crown, with his back positioned enigmatically to the viewer, staring out over the peaks of other rocky outcrops, which pierce the all-consuming fog like tiny islands in a lake. The overwhelming impression is of minuscule mankind left helpless and adrift in an all-consuming sea of white, grey and blue. And yet, if you head to the Hamburg Kunsthalle’s official exhibition website, Friedrich’s Wanderer now stands overlooking not some strange aerial Heaven, but some fearsome earthly Hell. The blues and whites have all become reds and oranges, like so:

Read More: Why is an Art Gallery Inserting Fake Images of Climate Change

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