Edgar Degas - ballet artist - [PEACE]
zen at freedbms.net
Thu Feb 7 15:26:28 PST 2019
Note, some of the links to the actual paintings have been taken off
le Internet, although the links are still in the original article.
** Counter-[censored] Hero Fought for French Freedom: Edgar Degas
by Brother Nathanael Real [censored] News
Wed, Feb 6, 2019
Edgar Degas an 'Anti-[censored]' for Our Times
Edgar degas was born of aristocratic bankers in Paris on July 19,
1834. Until his death in 1917, Degas cherished an attachment to his
grandfather, Hilaire De Gas, a well-to-do banker of the French
Developing his artistic talent when 18 years old as a copyist at the
Louvre in Paris, Degas began getting recognition as a serious
painter in 1868 with his enigmatic ‘psychological’ portrait, A Woman
Seated Beside a Vase of Flowers.
In 1873, Degas joined Claude Monet, Camille Pissarro, and Paul
Cezanne to form the Societe Anonyme des Artistes which opened the
first Impressionist exhibition in Paris.
Critics named Degas the leading figure among the new group, later
known as the Impressionists, conferring high praise on his work, The
Dancing Class, another enigmatic work using a small mirror, a
strange hanging wall painting, and the figure of an ‘out-of-place’
[censored] violinist. View Enlarged Image Here.
From this point on, Degas was acclaimed for his unique artistic
technique that evoked a sharp discrepancy between figure and
A crystallizing event in the life of Degas occurred in the autumn of
1897 in which the artist broke off his relations with the [censored],
Pissarro, who was at odds with Degas. This event, known as The
Dreyfus Affair, in which [censored] artillery captain Alfred Dreyfus
was accused of selling military secrets to Germans, prompted Degas
to declare himself an ‘anti-Dreyfusard.’ Henceforth, Degas was
scorned by prominent French [censored] as an ‘anti-[censored].’
DEGAS & THE RISE OF [censored] POWER
The ‘anti-[censored]’ attitude of edgar degas towards French
[censored] began to overtly show itself in his 1871 painting,
General Mellinet and Chief [censored] Astruc.
In his double portrait portraying a [censored] as not only being the
equal of a Parisian general, but possessing an insolent predominance
over the high ranking military officer, Degas displayed the growing
sentiment that [censored] were emerging as a dangerous influence in
French political life. Although the title of the painting confers
preeminence to the general, the [censored] is clearly in charge.
Degas’ dismay at the rise of [censored] power in France gave
increased expression to his artistic voice as evinced in his 1879
painting of the [censored] opera librettist, Ludovic Halevy,
“Portrait of Friends in the Wings.” In his depiction of Halevy
conversing backstage at the opera with Albert Boulanger-Cave, a
wealthy Gentile arts patron, Degas’ use of the discrepancy between
figure and setting comes to the fore.
Drawing upon French opinion that “[censored] did not belong in
France and were sucking the life out of the country,” (Sound
familiar?), Degas created a portrait in which Halevy is out of place
in French public life, as here, the French opera.
In contrast to the bright, colorful backdrop, Halevy appears
isolated in his own gloomy set, his haggard expression incongruous
with the rest of the painting, his mere presence darkening the
cheerful scene. Degas used Halevy’s mood, complete with the
’stereotyped’ [censored] features of hooked nose and full beard, to
demonstrate that Halevy, ‘the [censored],’ was an alien in the
cultural life of France.
Degas’ Attitude Toward French [censored] reached its artistic climax
in his 1879 painting of [censored] banker Ernest May, “At the Stock
Exchange.” Degas shows May as a hook-nosed [censored] with bulging
eyes and lips - an artistic ‘mark’ of the [censored] alien status.
The scene incorporates the reality of [censored] financial hegemony,
well known to Degas with the emergence of the Rothschilds as an
economic force in France and throughout Europe.
Degas paints May’s head sharply titled toward a Gentile underling,
who appears to be whispering something in his ear, which Degas
deliberately emphasizes. This creates the impression that the
observer is spying on the two men while they share a secret stock
tip. With viewers left outside as a [censored] banker receives
insider trading information, Degas shows that the French public is
being betrayed by [censored] financial machinations. View Enlarged
BRINGING IT ALL BACK HOME
As an ‘anti-[censored]’ for our times, Edgar Degas foreshadowed the
present [censored] banking hegemony and secret dealings now
occurring at the [censored]-owned Federal Reserve Bank in America.
(It is NOT Federal/ It has NO Reserves/ It is yet ANOTHER [censored]
The Federal Reserve, led by the [censored] Ben Shalom Bernanke and
his [censored] adviser, Alan Greenspan, is currently appealing a
judge’s order requiring the privately-owned [censored] banking
consortium to identify the financial institutions ([censored]
bankers, that is) that benefited from its emergency loans. Since the
[censored]s own the courts as they do every American institution,
the Fed’s appeal will doubtless be upheld.
Bernanke refuses to disclose the $2 Trillion loan amounts given to
the [censored] banks participating in the TARP Bank-Bailout deal,
saying that doing so would “endanger private banking interests.”
The most likely recipients of stores of US taxpayer dollars are the
[censored] banks: Goldman Sachs/Lloyd Blankfein CEO; Morgan
Stanley/James Gorman CEO; Citigroup/Robert Rubin 2008 Senior
Adviser; and AIG/Harvey Golub, Chairman.
Working closely with Bernanke is the Fed’s own man at Treasury,
Timothy Geithner, former chief of the NY branch of the Federal
Reserve. As past president of the NY Federal Reserve, which
“maintains the nation’s payment systems,” Geithner knows where the
bodies are buried and to whom the TARP dollars went. But Timmy ain’t
On December 9, 2009, Bernanke addressed many of his fellow Zionist
[censored]s at the Economic Club of Washington. (Lots of [censored]s
on the Membership List.) Telling his compatriots that the “economic
recovery is in its early stages,” Bernanke seems to be ignoring the
20 million GENTILE Americans who are out of work and cannot be
convinced that a “recovery” is underway. In fact, 85,000 jobs were
lost in December 2009.
Perhaps another ‘anti-[censored]’ like Edgar Degas will arise,
exposing the [censored]s for their lies and for keeping the Gentiles
outside of their secret dealings. Or, perhaps he has already come.
But dumbed down Americans no longer have eyes to see and ears to
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