Fidus a.k.a Hugo Reinhold Karl Johann Höppener (October 8, 1868 - February 23, 1948)

"Fidus was the pseudonym used by German illustrator, painter and publisher Hugo Reinhold Karl Johann Höppener (October 8, 1868 - February 23, 1948). He was a symbolist artist, whose work directly influenced the psychedelic style of graphic design of the late 1960s.

Born the son of a confectioner in Lübeck, Höppener demonstrated artistic talent at an early age. Around 1886 he met the "apostle of nature" and artist Karl Wilhelm Diefenbach (1851-1913), and joined Diefenbach's commune near Munich. On Diefenbach's behalf, he served a brief prison sentence for public nudity, earning him the name Fidus ("faithful").

In 1892 he moved to Berlin, set up another commune, and worked as an illustrator on the magazine Sphinx. His work appeared frequently in Jugend and other illustrated magazines. He created many ornamental drawings, especially for book decoration, as well as ex-libris, posters and designs. He was one of the first artists to use advertising postcards to promote his work. He also contributed to the early homosexual magazine Der Eigene, published by Adolf Brand.[1]

He held mystical Theosophical beliefs, and became interested in German mythology. His early illustrations contained dream-like abstractions, while his later work was characterised by motifs such as peasants, warriors, and other naked human figures in natural settings. He often combined mysticism, eroticism, and symbolism, in Art Nouveau and Sezessionist styles. By 1900 he was one of the best known painters in Germany, and had come under the influence of writers such as Arthur Moeller van den Bruck, Heinrich and Julius Hart, and the anti-materialist garden city and Wandervogel movements. In 1912 he designed a famous poster for a congress on "biological hygiene" in Hamburg, showing a man in the process of breaking his bonds and rising up to the stars.[2]

After 1918, interest in Fidus’ work as an illustrator ebbed. Despite his enthusiasm for the ideology of the Nazi Party, of which he became a member in 1932, he did not receive the support of the Nazi regime. In 1937 his work was seized and the sale of his images was forbidden. By the time he died in 1948 his art had been almost forgotten. It was rediscovered in the 1960s, and directly influenced the psychedelic concert posters which began to be produced at that time, initially in and around San Francisco.[3]"-Wikipedia

David Lynch's Eraserhead (1977)

       

Eraserhead is a 1977 American surrealist film^[2][3][4] written, directed, and produced by David Lynch. In 1971, Lynch moved to Los Angeles to attend the AFI Conservatory. At the Conservatory, Lynch began working on his first feature-length film, Eraserhead, using a $10,000 grant from the AFI. The grant was not sufficient to complete the film and, as a result, Lynch worked on Eraserhead intermittently until its release in 1977. Lynch used money from friends and family, including boyhood friend Jack Fisk, a production designer and the husband of actress Sissy Spacek, and from odd jobs to finish the film.

Eraserhead polarized and baffled many critics and movie-goers, but has become a cult classic.^[5] In 2004, the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. Lynch has called it a "dream of dark and troubling things"^[6] and his "most spiritual movie."          

 -Wikipedia                                                                

Tribute to Brigitte Bardot

"Brigitte Anne-Marie Bardot[1][2] (French pronunciation: [bʁiʒit baʁdo], English: /ˈbrɪdʒɨt bɑrˈdoʊ/; born 28 September 1934) is a French former fashion model, actress and singer, and animal rights activist.

In her early life, Bardot was an aspiring ballet dancer. She started her acting career in 1952 and, after appearing in 16 films, became world-famous due to her role in her then-husband Roger Vadim's controversial film And God Created Woman. She later starred in Jean-Luc Godard's 1963 cult film, Contempt. She was nominated for a BAFTA Award for Best Foreign Actress for her role in Louis Malle's 1965 film, Viva Maria!.

She caught the attention of French intellectuals. She was the subject of Simone de Beauvoir's 1959 essay, The Lolita Syndrome, which described Bardot as a "locomotive of women's history" and built upon existentialist themes to declare her the first and most liberated woman of post-war France.[3]

Bardot retired from the entertainment industry in 1973. During her career in show business Bardot starred in 47 films, performed in numerous musical shows, and recorded 80 songs. She was awarded the Légion d'honneur in 1985 but refused to receive it.[4]

After her retirement, Bardot established herself as an animal rights activist. During the 1990s, she became controversial due to her criticism of immigration, Islamization and Islam in France, and has been fined five times for "inciting racial hatred".[5][6]" Brigitte Bardot

Fascinating Fascism by Richard Spencer

As you’ve probably heard by now, a Russian design firm has been condemned for…well…evoking fascism in a recent advertising campaign.

Russia's Winter Olympics slips into controversy over 'Nazi images'
Tom Parfitt
The Guardian
16 May 2011
A promotional campaign linked to the 2014 Winter Olympics is stirring debate in Russia because of its use of allegedly "fascist" imagery.

The campaign employs images of blue-eyed, blond sportsmen and women which have been described by critics as "neo-Hitlerite" and "like something from a Leni Riefenstahl film".

Images of an Aryan-looking snowboarder and an ice-skater gazing into the middle distance dominate giant billboards in Moscow and feature on the cover of brochures to advertise Gorky Gorod, an elite housing complex being built at Krasnaya Polyana near Sochi on Russia's Black Sea coast. The complex is a private-public partnership which will be the Olympic media village at the 2014 Games.

"Without doubt the authors of this advertising were inspired by Nazi art," said Ekaterina Degot, a well-known art historian and former curator at the State Tretyakov Gallery.

When the billboards were put up, the Russian art collective Voina, itself known for its controversial painting of a 65-metre penis on a drawbridge in St Petersburg, tweeted: "On Pushkinskaya Square opposite Gap, there is a huge advertisement, openly fascist in style, for elite housing in Sochi."

Degot and others said the style and pose of the subjects in the images was heavily suggestive of Nazi art which stresses racial purity and superiority.

The Guardian has learned that the images of the sportsmen were produced by Doping-Pong, a St Petersburg-based design company which uses a swastika as one of its online "banners".

One of the company's recent projects is a series of erotic photographs of two young women, one called a "fa" (fascist), the other an "antifa" (anti-fascist activist), who grapple with each other in a wrestling ring and tear off each other's clothes. The "fa" appears to win the fight and triumphantly wraps herself in a Nazi flag.

I have no doubt that the Dopingpong firm was, in some fashion, gesturing towards the “fascist” aesthetic of the '20s and '30s. A glance at its catalogue reveals that it does quite a bit of this. The degree to which these references are ironic or tongue-in-cheek, I’ll leave up to the reader. Since the images are overtly “retro,” Dopingpong has certainly applied at least one layer of irony. One might also add that the connotation is more of an era than an ideology: Stalinists were also keen on evoking a certain strong, wholesome, defiant aura; moreover, some public architecture of the New Deal era is cut from the same cloth of Albert Speer’s “Nazi” Classicism. (The offending poster also reminds me of those vintage mountaineering posters I always see on sale every winter.)

But in the end, all of this is besides the point.

What we glimpse in this episode is the degree to which egalitarianism is propagated—and the war on Whiteness, waged—aesthetically. A poster that displays blond, blue-eyed Slavs in heroic postures is deemed, by our opinion- and culture-makers, as a few steps away from Auschwitz. Other cultures are allowed to be grand: Martin Luther King Jr., for instance, can be glorified in gargantuan kitsch. Heroic art featuring White people, on the other hand, is viewed as immoral.

This trend in public display mirrors that in high art, in which centuries of neo-Classicism and Romanticism were, in essence, cancelled in favor of abstraction and modernism’s anti-aesthetic. As Wilmot Robertson noted, “In the dispossession of the [American] Majority, it is the Majority artist who so far has been the greatest casualty.”

The converse of this sad development is the utter tastelessness of current self-styled “conservatives,” whose sole aesthetic seems to be oversized billowing flags. (And they’re capable of much worse.)

Regardless of whether it’s “fascist” or not, the image of healthy, strong, defiant Europeans is what a truly pro-Western propaganda poster should look. And that’s why it’s attacked.

Jan Saudek III

Joel Peter Witkins: Mother and Child with Retractor Screaming-1979

Jan Saudek II

Jan Saudek

Jan Saudek documentary