Great German

Great German

In Search of
... The Great German Nation.

Origins and Destiny

copyright
(c) 2007

Unveiling the Amazing

SECRET
Behind Germany’s Historic Role as a Leading Nation
Did you know that
Germany has a secret? A secret kept close to its pounding heart! For
Germany
hides one of the great secrets of the ages - known to very few! If
revealed, our whole understanding of international affairs would be
drastically altered. Statesmen and diplomats would wake up and take a new
look at the nation taking the lead in the powerful European Union.
It is time to explore
that secret and to expose it to the world. In a new book containing detailed
research, the German SECRET is answered in the first book dedicated
completely to the question:

The
Great German Nation. Origins and Destiny

Have you ever wondered
why Germany has on one hand been a glorious nation of achievement and
enterprise but on the other has instigated major crises. For centuries the
German peoples have displayed tremendous qualities of inventiveness,
leadership, efficiency and cultural achievements. At other times they have
been in the centre of strife and war. WHY this enigma?

In a landmark book,
author Craig White reveals the stunning answer. It is the complete answer
you won't find anywhere else. And it brings a whole new dimension to
understanding world affairs. Your entire thinking about the origins of
Germany, plus other European nations, will dramatically change when you
learn about "Germany's greatest secret.”

The cost has been kept down to only
USD$16.30
plus postage in North America. The cost is the same price in any other
currency anywhere else in the world, plus postage. In Australia it is $35.00
including postage direct from the USA.

Click on
this link to order and
here to go to the
author's blog.

"This book is a monumental
contribution to the study of the Assyria-Germany connection. It is
thoroughly researched and well documented. The author is clearly well read
in both ancient and modern history. The book even takes us into the future,
painting a vivid picture of the role that Germany will play as the leader of
Europe in the coming years."
–
MELVIN RHODES (Senior Editor, Good News
magazine and World News and Prophecy )

“Craig White's latest work The Great German Nation:
Origins and Destiny is a must read for serious Bible students who want
to know more about the roots and prophesied events for Germany. It is
several hundred pages in length and has scores of footnotes and a number of
graphics. It is the most comprehensive material that I have ever read on the
topic, a compilation of decades of research.”
–

Rainer Salomaa
(Pastor and church board chairman, writer and researcher)
“When Craig
White provided me with a draft copy of his book on The Great German
Nation: Origins and Destiny, I was particularly pleased. I have long
felt that good research on the Germany–Assyria connection has been badly
needed for any serious tribe-tracker of the Israelites and other ancient
peoples. My preliminary perusal of the book proved that it contains such an
amazing breadth of information and sources laid out in a pleasantly readable
format. I think any researcher of history will appreciate it. I know that I
will keep my copy ensconced within easy reach on my bookshelf.”

–

Randall Stiver
(National TV and radio commentator, magazine writer, editor, educator, and
church pastor)
“This is a
well-researched volume which adds greatly to the evidence, believed for
years in many Churches of God, that modern Germany is descended from ancient
Assyrian peoples. This is important for our understanding and interpretation
of prophecy. I have been studying the identity of Germany since first coming
in contact with the teachings of the late Herbert W. Armstrong in the late
1960s, and Craig White's book is the best and most-thorough treatment of the
subject I've seen.”
-

Mac Overton
(editor of a community newspaper in Texas, a long-time member of the Church
of God, and a well-known free-lance writer and a frequent contributor to
Church of God publications)
“I
recently finished [reading] your book Who are the Germans?
[forerunner to this book] I have a Bachelor Degree and a Master Degree in
History, and from a professional point of view, I was very impressed with
your work. I was especially impressed with your documentation. As you know
in a work of this type, it is crucial to document sources” –

Calvin Lashway ,
MA

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It was decided to hold a Great German Art Exhibition in Munich. Adolf Ziegler , signed the announcement for the competition. "All German artists in the Reich and abroad" were invited to participate. The only requirement for entering the competition was German nationality or "race". After extending the deadline for submissions, 15,000 works of art were sent in, and of these about 900 were exhibited. According to official records, the exhibition had 600,000 visitors. (1) Hubert Wilm , a pro-Nazi artist, explained what they were trying to achieve: “Representation of the perfect beauty of a race steeled in battle and sport, inspired not by antiquity or classicism but by the pulsing life of our present-day events”. (2)
Ziegler was heavily influenced by the ideas of Paul Schultze-Naumburg , who had published a pamphlet entitled, The Struggle for Art (1932): "We know that, from the works of art that the peoples and the times have left us, we can draw a picture of their true spiritual essence, form and environment... After all, one cannot ignore that the higher task of the artist is to show the final objectives to the people of their time, to make visible the image towards which one wishes to move, so that all people could recognize beauty and can start the contest to imitate it and to make themselves compliant with that ideal... Woman has probably never been depicted so disrespectfully and in so unappetizing a way as in the paintings we have been obliged to put up with in German exhibits of the last twelve years, paintings that inspire only nausea and distrust. They convey not the slightest trace of the sacredness of the human body or of the glory of a divine nakedness. They express a ravening lasciviousness that sees the nude only as an undressed human being in its lowest form... The essential element of art, as we understand it, is therefore to always show a ‘spiritual direction’. And the idea of National Socialism is based on appropriately 'giving direction' to the German people and leading it to salvation. And since that task is substantially conducted with spiritual tools, national socialism cannot ignore the instrument of art." (3)
On the opening day of the First Exhibition of German Art, Munich was covered with Nazi flags. "In the streets perspiring Teuton warriors manhandled a giant sun and carried the tinfoil-covered cosmic ash-tree Yggdrasil (of German legend), in solemn procession... Regaled with these evocations of the past, the crowds entered the exhibition hall and found themselves - back in the past... Every single painting on display projected either soulful elevation or challenging heroism. Cast-iron dignity alternated with idyllic pastoralism. The many rustic family scenes invariably showed entire kinship groups... All the work exhibited transmitted the impression of an intact life from which the stresses and problems of modern existence were entirely absent - and there was one glaringly obvious omission: not a single canvas depicted urban and industrial life." (4)
The art critic, Bruno E. Werner , wrote in Deutsche Allgemeine Zeitung : "Most of the painting shows the closest possible ties to the Munich school at the turn of the century. Leibl and his circle and, in some cases, Defregger are the major influences on many paintings portraying farmers, farmers' wives, woodcutters, shepherds, etc., and on interiors that lovingly depict many small and charming facets of country life. Then there is an extremely large number of landscapes that also carry on the old traditions.... We also find a rich display of portraits, particularly likenesses of government and party leaders. Although subjects taken from the National Socialist movement are relatively few in number, there is nonetheless a significant group of paintings with symbolic and allegorical themes. The Führer is portrayed as a mounted knight clad in silver armour and carrying a fluttering flag. National awakening is allegorized in a reclining male nude, above which hover inspirational spirits in the form of female nudes. The female nude is strongly represented in this exhibit, which emanates delight in the healthy human body." (5)
The Berliner Illustriere Zeitung commented: "Adolf Wissel's Peasant Group told intimately of the secrets of the German countenance; Karl Leipold's Sailor experienced the sea as creative world-fluidum; Adolf Ziegler's Terpsichore combined a grasp of modern painting with the purity of classical antiquity in its conception of the human body; Elk-Eber's The Last Hand-Grenade showed movingly how the artist had experienced the Great War and given sublime expression to this vision." (6)
In 1937 Elk Eber showed The Last Grenade at the Great German Exhibition. The following year he exhibited his most famous painting, This Was the SA . " Eber's composition who was the SA was exhibited in Munich showing a march of a SA troop under a swastika banner, a man in the foreground with his head bandaged, and curious onlookers on the side, among them an admiring young boy - in what was most certainly to be a Berlin Communist stronghold in the last republic." (7) Hitler was so impressed with the painting he purchased it for 12,000 RM. (8) Over the next few years a total of 16 of his oil paintings were shown at the annual Great German Art Exhibition. (9)
Another artist featured in the exhibition was Hermann Otto Hoyer . This included his Hitler In the Beginning was the Word (1937): "Here Hitler can be seen haranguing a small crowd seated in a dark room in Oberstdorf, Upper Bavaria, where the rookie politician, historically correct, proselytizes for the nascent NSDAP in the very early 1920s. In front of a swastika flag and flanked by an archetypal storm trooper, Hitler dressed in a simple suit and tie, gesticulates effectively, with onlookers captive - among them, the closest, a woman." (10)
The exhibition included Adolf Ziegler's The Four Elements (1937). Ziegler had been inspired by the words of Alfred Rosenberg , who had highlighted the importance of Greek mythology to the Nazi aesthetic, saying that "The Nordic artist was always inspired by an ideal of beauty. This is nowhere more evident than in Hellas’s powerful, natural ideal of beauty". Ziegler extended the "use of mythology still further, being full depictions of ancient Greek myths in a romantic classical style." (11) Hitler purchased the painting and was eventually hung over his fireplace in his apartment in Munich. (12)
Adolf Ziegler entered The Goddess of Art to the 1938 Great German Exhibition. It was described as Ziegler's "painstakingly executed confections of lifeless nudity". (13) Die Kölnische Zeitung was more positive about the painting: "This time it is not Terpsichore but a life-sized Goddess of Art which expresses Ziegler's praise of beautiful nudity. Once again reality has been hit off so accurately that one would think this pink-cheeked female had only a second ago shed the light burden of her clothes. Her nudity, whose careful artistic execution breathes the air of warm life, conceals manifold charms in its opalescent flesh tints." (14)
Frankfurter Zeitung saw the danger to the approach taken by the Nazi government to art: "It may well be that many an artist will no longer have the courage to create anything new after the opening of the House of German Art at Munich". (15) The satirical periodical Simplicissimus added: "There were times when one went to exhibitions and discussed whether the pictures were rubbish, whether the painter knew his job, etc. Now there are no more discussions - everything on the walls is art, and that is that." (16)
The eight exhibitions that were held in the House of German Art in Munich between 1937 and 1944 offered what Ziegler4 considered a valid cross-section of the best artistic efforts from all of Germany. Pageants designed around the theme of a "Day of German Art" took place. Participants wore historical costumes and fancy dress. Hitler gave speeches on "culture" and the entire Nazi Party leadership attended. According to official records, the resulting attendance was as follows: 1937 (600,000), 1938 (460,000), 1939 (400,000), 1940 (600,000), 1941 (700,000) and 1942 (840,000). Allied mass bombing made it difficult to hold these exhibitions after 1942. (17)
It is often said that every genuine art reflects the people that originates and sustains it. Obviously, each artist can capture, through his mirror, only a specific part of the character of his people. And yet, it is completely unthinkable that art can live a life of its own and that the beings that appear in front of our eyes are not a true representation of the beings that physically represent a people in the flesh. We know that, from the works of art that the peoples and the times have left us, we can draw a picture of their true spiritual essence, form and environment...
The individual personalities of the artists are too different to reach full overlap. There are those that are tightly oriented to the model and their environment and reproduce it faithfully on the canvas, and those who can only give shape to their dreams of that reality. It does not matter if art is an accurate representation of reality – like it has always been the task of the fine arts - or if it reflects only the times from a spiritual point of view, as a perceptible expression of the substance of reality. After all, one cannot ignore that the higher task of the artist is to show the final objectives to the people of their time, to make visible the image towards which one wishes to move, so that all people could recognize beauty and can start the contest to imitate it and to make themselves compliant with that ideal...
Woman has probably never been depicted so disrespectfully and in so unappetizing a way as in the paintings we have been obliged to put up with in German exhibits of the last twelve years, paintings that inspire only nausea and distrust. They convey not the slightest trace of the sacredness of the human body or of the glory of a divine nakedness. They express a ravening lasciviousness that sees the nude only as an undressed human being in its lowest form...
We often come across with the opinion that art can produce so many pleasures, introducing the beauty in life. When it comes instead of the most important questions of life, art would have nothing to say. Who thinks so, is not clear on the concept of art and the scale of the task that it has to play in people's lives. Actually, those who think that artistic activity consists of the fact that one is rich enough to buy a French impressionist, in order to display it with pride to friends, capture a very small and not important piece of the whole. If you want to give a simple and essential meaning to the concept of art, you might say, it is always the expression of man's desire, which is hereby translated into a perceptible form. This putting-in-shape is a creative act, for which the artist forces are necessary. The essential element of art, as we understand it, is therefore to always show a ‘spiritual direction’. And the idea of National Socialism is based on appropriately 'giving direction' to the German people and leading it to salvation. And since that task is substantially conducted with spiritual tools, national socialism cannot ignore the instrument of art.
The communication of values and messages by allegory and metaphor was important but high value was also placed on representations of fitness and well being, as characterizing racial purity and superiority, the Aryan ideal. The identification of the naked man with the ideal of classical beauty and heroism was a ubiquitous sentiment in National Socialist art and popular culture....
Within its unique conservative style Nazi art was purposeful, with content chosen less for aesthetic appeal and more for usefulness in the ‘bigger political picture’. It achieved much in terms of embodying and communicating the wider fascist ethos of the NSDAP: reinforcing its back-story of a pure race and a country with both a mystical past and a great future, a ‘thousand-year Reich’, that would be delivered if the people believed in the ‘quasi-religious’ values of Nazism – military and moral strength together with an intolerance of weakness, liberal values and, above all, the evils and degeneracy of communism and Judaism. It is interesting that the art created was so distinct and clear in its message, such a quintessential fascist aesthetic, that almost seventy years later the material is still something of a taboo with many authors putting disclaimers in their work when discussing Nazi art, seeking to avoid condoning the content.
Most of the painting shows the closest possible ties to the Munich school at the turn of the century. Leibl and his circle and, in some cases, Defregger are the major influences on many paintings portraying farmers, farmers' wives, woodcutters, shepherds, etc., and on interiors that lovingly depict many small and charming facets of country life. Then there is an extremely large number of landscapes that also carry on the old traditions.... We also find a rich display of portraits, particularly likenesses of government and party leaders. Although subjects taken from the National Socialist movement are relatively few in number, there is nonetheless a significant group of paintings with symbolic and allegorical themes. The Führer is portrayed as a mounted knight clad in silver armour and carrying a fluttering flag. National awakening is allegorized in a reclining male nude, above which hover inspirational spirits in the form of female nudes. The female nude is strongly represent
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