The Anti-New York Times
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A Daily Web Page Summary of the Dirty Lies, Glaring Omissions,
Half Truths & Globalist Bias of The NY Times Front Page Headlines
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FEBRUARY, 2018 1 FED RESERVE NOTE
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“We read and rebut their vile crap so you won’t have to!”
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FRIDAY / FEBRUARY 9, 2018
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NY Times: Art Looted by Nazis Gets a New Space at the Louvre. But Is It Really Home?
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REBUTTAL BY
 The World War II song that never ends has many recurring stanzas. The main one, of course — outnumbering the other well worn-out verses by a ratio of 1000 to 1 — is, as we all know, that tiresome refrain about the 6,000,000 Jews who died in “zee gas chambers.” ™ But as for that second tier of recycled myths that the “the powers that be” (cough cough) have crapped into the public mind-well for the past 75 years or so, the fairy tale of “Nazi looted art” ranks very high on the repetition meter.
As long as the slandering scribblers of Sulzberger’s Slimes insist of repeating this looted-art libel, Sugar and I, er, “The Editorial Board of The Anti-New York Times will just keep on rebutting it.
    The song that never ends will be countered by ANYT rebuttals that never end.
During World War I, under Kaiser Wilhelm II, the highly cultured Germans had gone to great lengths to protect and preserve artworks located in combat zones. The German word to describe this principal of saving Europe’s cultural and artistic treasures during wartime is “Kunstschutz” (art protection). At the end of World War I, rescued artworks were returned voluntarily. Unlike World War II, anti-German propaganda actually faded away following World War I. As a result, Germany was later praised for “Kunstschutz” / art protection during “The Great War.”
1 & 2: Kaiser Wilhelm tried to avert the war which was forced upon Germany. Even while winning the war, the Kaiser held out an olive branch to the Allies, while his Kunstschutz units protected artworks belonging to enemy nations. 3. World War I was very destructive. Thanks to Germany, many works of art located in Belgium and France were saved.
A talented painter himself, Adolf Hitler has a great appreciation for art and culture. He saw Churchill and FDR as uncultured barbarians with merciless disregard for innocent life, architecture, and works of art. As the Germans had done during World War I, Hitler too ordered the protection of artworks throughout the combat theatres of Europe. The task of protecting the art was handed over to Air Force Marshal Hermann Goering. As Allied terror bombing ravaged Europe, thousands of paintings and sculptures from Italy, France, Belgium, Russia, Romania, and Poland were gathered and meticulously inventoried by the Germans. This process only began in the fall of 1943. Had the Germans wanted to “loot” the art of Europe, they could easily have done so in 1940, 1941, 1942, and the first 9 months of 1943. It was only after Allied carpet bombardment was unleashed upon Italy (later on France), and the Soviets began advancing from the East, that the German began gathering up the artwork and evacuating cultural centers such as Athens, Rome and Florence so that no battles would take place in them.    As men of culture, Hitler and Goring placed high priority on art protection. Rescued from Naples: ‘Danaë’ by Titian (l) and “The Blind Leading The Blind” by Pieter Bruegel After the war, the American Art Looting Investigation Unit (ALIU) of the Office of Strategic Services (OSS) issued 13 reports on the German “looting” of artworks. By the way, this is the same OSS (forerunner of the CIA / “Deep State” ) that also accused the Germans of using dead Jews to make “shrunken heads,” “lamp shades,” and “bars of soap” – allegations which are today universally acknowledged as false. In the decades following the war, endlessly repeated propaganda has elevated the OSS-CIA fable of “looted Nazi art” into a virtual reality in the minds of the brainwashed public.
There is also a financial twist to this lie. See if you can detect it in the following excerpts from this article. We’ll even put the hints in bold for “youse guys”:
“Critics, while praising the intention, say the new rooms represent a missed opportunity because they do little to further the search for the rightful owners of the paintings or their heirs….
An estimated 100,000 objects in France alone were looted by the Nazis or sold under duress and transferred to Germany — paintings, but also drawings, sculptures and antiquities. Many had belonged to Jewish families whose homes were raided during the Nazi occupation, or who were forced to sell art to survive or to flee the country.”
See the scam? We knew that you could. Cheese and crackers! These money-grubbing shysters would lay ancestral ownership claims to the Eiffel Tower and the Roman Colosseum if they thought they could get away with it.
   1. The “Cloak & Dagger” Logo of the OSS says it all! This agency — whose stated purpose involves strategic deception and propaganda — crafted the “looted art” lie. 2. The mass-murderer Eisenhower (shown examining “looted art”) also helped to sell the post war lie. 3. Schemer says: “Oy vey! Zee paintings in the Louvre actually belonged to my Great Uncle’s first cousin twice-removed. Zee whole family vas gassed in Aushvitz so I am zee only remaining heir. I svear to God!”
Boobus Americanus 1: I read in the New York Times today that an exhibit of Nazi-looted art in the the Louvre may be displaying artworks whose rightful owners may be Jewish families. Boobus Americanus 2: Perhaps they should sue the Louvre to get them back.
Sugar: They will Boobuss, they will. Jusst give it time. Editor: And they would win too. They always frickin’ win. |
