Frontpage Mag
The dark design behind a Cambridge Museum overhaul.
When you observe renowned landscape artist John Constable’s bucolic painting “Hampstead Heath” above, what feelings does it inspire? Calm? Nostalgia? Spiritual uplift? A surge of white supremacist pride and jingoistic fervor?
For some reason – my guess is a toxic mix of colonialist guilt, multiculturalist self-loathing, and pressure from neo-Marxist donors and administrators determined to “deconstruct” Western civilization – England’s Fitzwilliam Museum, owned by the University of Cambridge, recently overhauled its collections with new signage warning sensitive visitors that landscape paintings of the British countryside can evoke dark “nationalist feelings.”
Paintings at the Fitzwilliam have been reshuffled into new categories that are deemed more “inclusive and representative.” The names alone of these new categories – Men Looking at Women, Identity, Migration and Movement, and Nature – reek of a politically woke perspective.
Signage for the Nature gallery, for example, which includes landscape paintings by such notable English and French artists as Constable, Gainsborough, Renoir, and Cézanne, states,
Landscape paintings were also always entangled with national identity. The countryside was seen as a direct link to the past, and therefore a true reflection of the essence of a nation. Paintings showing rolling English hills or lush French fields reinforced loyalty and pride towards a homeland. The darker side of evoking this nationalist feeling is the implication that only those with a historical tie to the land have a right to belong.
Translation: lovely European landscapes = white supremacy. This is the conclusion of a report recently submitted to Parliament by the charity umbrella group Wildlife and Countryside Link which denounces the British countryside as a “racist colonial” white space. You read that right…
READ FULL ARTICLE HERE… (frontpagemag.com)
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