Art & Evil 01 • Marc Chagall • Look through a Paris window and things fall apart

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Greetings y saludos

The Diamond Sutra of Revelation is a series of visions which I will share with you over the course of the coming year. These visions show the world as it should be. The beauty of La Bella Futura is like a trapped bud that is unable to blossom. The rightful evolution of humanity has been stopped in its tracks by unprecedented evil which dominates the world today. This is deliberate. The occult forces behind the Anglo-American Ruling Classes are opposed to Spirit and work unceasingly to prevent the natural unfolding of the Good, the True and the Beautiful.

La Bella Futura is the true spirit of human progress manifesting across the three spheres of the social order: Cultural, Rights and Economics. With right-economics and heart-justice supporting the unfolding of Grenaissance—and with it an unparalleled outburst of freedom, joy and creation in the cultural sphere—La Bella Futura is a future that is gorgeous to behold and I look forward to sharing it with you. Without a vision of what we want, we will not be able to unfold the living bud of human progress into the next era of evolution. Creating Right Vision is the first order of necessity in securing the blessing of the gods.

Humanity has come to a point where it cannot arrive at Grenaissance without being initiated into the Mysteries of Evil. This is unavoidable. Without a sound grasp of what opposes, Brevolution and La Bella Futura cannot enter into the proper course of cosmic evolution. This is the second order of necessity. Without going through the portal of Evil, the fiery wrath of the gods will not be activated and, without their help, we humans will be unable to destroy the earthly evil of the Cabal and bring about the removal of the Anglo-American Ruling Classes (peacefully, lawfully and lovingly.)

As befits an artistic process here is a triku to illustrate the journey ahead.

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Art makes bearable

that which otherwise

cannot be endured

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Art makes safe

the Evil which otherwise

could not be known

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With angels surrounding

the human hand

must grasp the worst

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The triku describes initiation into Fiery Knowing.

The angels surrounding the human heart are those of Archangel Michaél. Inspired and protected by angels in the Heart, the hand that grasps is wilful human Thought activating the fiery forces of the Will.

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Fierce Love and Fiery Knowing

beget the Fiery Force

of Human Willing

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With fiery acts of inspired will we must grasp the slouching beast and cast out the Princes of Darkness from their stranglehold over human evolution. This is a battle that begins with Art. We first beget the beasts in our imagination.

What I will present over the next few months is the conscious initiation into the mysteries of evil.

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~~oo~~OO~~OO~~OO~~oo~~

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If you know how to look, Art has already been initiating humanity into evil for over a hundred years, but it has been an unconscious initiation. I believe this was inevitable. The First World War was the beginning of the Great Long War of 1914 – 2030. Given that the British elites had been planning the conflagration since 1870, it is obvious that something like a cloud of evil descended over Europe. Artists are not slow to pick up on this. Naturally each artist portrays it in their own particular style.

I am going to put two well known works of art side by side so that they can talk to each other. Both straddle the First World War.

Paris par la fenêtre (Paris Through the Window) was painted by Marc Chagall in 1913. Compare it to W B Yeats' The Second Coming:

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Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere

The ceremony of innocence is drowned;

The best lack all conviction, while the worst

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.

The Second Coming! Hardly are those words out

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in the sands of the desert.

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A shape with lion body and the head of a man,

A gaze blank and pitiless as the sun,

Is moving its slow thighs, while all about it

Reel shadows of the indignant desert birds.

The darkness drops again; but now I know

That twenty centuries of stony sleep

were vexed to nightmare by a rocking cradle,

And what rough beast, its hour come round at last,

Slouches towards Bethlehem to be born?

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Now look at the Chagall painting again and then ask yourself: Where have you seen this kind of art before?

The answer is: Nowhere!

Naturally I'm speaking from the big picture. From a zeitgeist point of view, both works of art were created on the same spirit-day, that is, at the centre of the trench warfare madness in 1916. In my view, Paris Through the Window could only have come about because of unprecedented madness and evil unleashed in the darkest days of World War One.

Things fall apart; the centre cannot hold.

Look at the painting. Things are falling apart all over the place!

An upside down metro train; flying men and women butting into each other; tricolour searchlights evincing a confused and morbid patriotism stabbing a dirty brown sky; a guy holding a pyramid or a parachute floating towards the Eiffel Tower; then there is the two headed man, Janus-like, looking to the past and to the future, the latter with a heart in his blue hand. If you look carefully, you can compress the Janus and make out a third single face staring directly at you. Over on the left it's nice to see flowers inside the room—can't we get back to our comfortable bourgeoisie lifestyle?—a viewpoint, which seen through that side of window, makes the Paris landscape seem more normal. As it looks out of the open window, the glare from Mr Blue Face projects a pasty white glow over the streets of Montparnasse and onto the head of the cat which is not a cat but the sad and confused look of the human being at the centre of it all, but now become feline, a feline that might well be the one referred to in Yeats' poem, later to grow fully evil and start slouching its way towards Bethlehem to be born.

To the extent that The Second Coming and View from the Window are safe, albeit uncomfortable to behold, so too will the conscious journey into Evil unfolding here in the Fearless Arts Café be safe. The journey might not always be comfortable—that's part of the work—but we will always be well protected by Archai Michaél and the awesome angels in his team.

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For the rest of the show enjoy a presentation of some of Marc Chagall's most iconic paintings along with a few comments of my own to give some context. In the tradition of Dr Albert Barnes, I will omit titles until the end.

(One of the early enthusiasts of the School of Paris, Albert Barnes amassed one of the greatest collections of twentieth century French art in America. Exhibited in the Barnes Foundation near Philadelphia, the paintings were randomly displayed and without titles which Barnes believed distracted the viewer.)

Tomorrow I will present a slide show of paintings by another Paris artist working at the same time as Chagall. We will see how Art is able to grasp the demonic force of spiritual destruction in the soul of the painter, a destruction likely instigated by the evil clouds hanging over Europe in the crazy days of the early Twentieth Century.,

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Blessings

Steve

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~~oo~~OO~~OO~~OO~~oo~~

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The wine bottle points towards the open mouth like a canon. The face of a trapped man. Love those crazy red eyes! This is a favourite of mine.

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The great permission. If Chagall can do anything he wants to make his lost home and village come alive again, then I can do the same for Evil.

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Don't ask. Don't know. This one makes no sense to me. Why think? Why search for symbols and allegory. Feel the power.

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The arresting face of the mule who carries a lady. Deep, pensive intelligence. Is there hope? Will he be released from his spell? Will he get to Beauty?

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As the startled youth with awe and wonder on his face swoops down, I feel his hidden wings.

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Whipping and kicking his horse, the drover looks back at his wife floating behind the cart. Who is she looking back at? An eternal question haunts us all,

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~~oo~~OO~~OO~~OO~~oo~~

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Marc Chagall • Index of the above paintings

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01 Marc Chagall • Paris par la fenêtre (Paris Through the Window) • 1913 • 36 × 141.9 cm.

02 Marc Chagall • The Drunkard (Le saoul) • 1912 • il on canvas. 85 × 115 cm.

03 Marc Chagall • I and the Village • 1911 • Oil on canvas, 192.1 × 151.4 cm.

04 Marc Chagall • A la Russie, aux ânes et aux autres (To Russia, Asses and Others) • 1911 • Oil on canvas • 157 x 122 cm.

05 Marc Chagall • Le saint voiturier (The Holy Coachman) • 1911–12 • Oil on canvas • 148 x 117.5 cm.

06 Marc Chagall • Le Marchand de bestiaux (The Drover, The Cattle Dealer) • 1912 • Oil on canvas, 97.1 x 202.5 cm

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~~oo~~OO~~OO~~OO~~oo~~

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