The Writings of Revilo P Oliver 1908-1994


by Professor Revilo P. Oliver (Liberty Bell, May 1988)

WHEN YAHWEH'S Master Race began to prepare the Aryan boobs in the United States for eventual use as a horde of crazed cattle, stampeded into Europe to consummate the Suicide of the West and, in all probability, the suicide of our race, the world-destroyers hired the prostitutes of the press to propagate lies about Adolf Hitler. It took the hostes generis humani years to invent the Holohoax they now use to plunder and cow their serfs, but from the first they forged documents to show that Hitler had been the illegitimate offspring of a Kike; by mistranslating a German idiom that designates a man who habitually walks about while talking to intimates of serious matters, they were able to concoct a silly story that he often fell into such rages that he chewed the carpet; they told persons who could not read German that Hitler had advocated in his great work, Mein Kampf, the technique of the Big Lie, which he there accurately identified as the standard technique of the Jews (as now witness their Holohoax, which may be the most enormous lie perpetrated since their tale about Esther in the Jew-Book); and among many lesser applications of their racial technique, they devised the story that Hitler had been a house-painter.

It is now admitted, of course, that he was an artist of sincere purpose and some minor distinction, although not, of course, an artist to be ranked with the masters of the Great Tradition, which ran from Leonardo and Michelangelo to recent times, when the Jews, applying their standard method -- First defile, then destroy -- hired venal critics to bamboozle simpletons into accepting as "modern art" ugly and disgusting daubs made by schizophrenics and by swindlers who imitated them. (1)

(1. A correspondent who has noted the enormous prices paid, presumably by wealthy idiots, for painted or sculptured deformities, evidently the work of equally deformed minds, suggests that one function of "modern art" is to "launder" money for organized crime. If you pay a million dollars for a package of heroin or cocaine, you cannot avow what you purchased and it would be difficult to keep such a transfer of currency securely secret, but if you ostensibly purchase at that price a piece of spoiled canvas or ruined stone and say you are collecting "art," you are legally safe and need not care about what cultured people may think of you.)


It is now possible to inspect conveniently the paintings (including water colors), drawings, and other work of Hitler as a young artist who was interested in satisfying his own aesthetic instincts and had no fixed intention of becoming a professional in an art in which he knew he could not greatly excel. An impressive illustrated catalogue of 260 pages, with reproductions of all the quite numerous works in color or black-and-white, including even rough sketches made when he was the incarnate soul of a great nation, (2) and as complete as the author and compiler could make it, is Billy F. Price's Adolf Hitler, the Unknown Artist. This handsome volume of quarto size, well printed in Italy, was published in Houston, Texas, by the author in 1983 with a text in German, and in 1984 with an English text. The English volume may now be obtained from the Eichler Publishing Corporation (4115 Leeshire Drive, Houston, Texas; 77025) at the reduced price of $20.00 each + $2.50 postage for either one or two copies.

(2. One unimportant item that may attract notice is a rough pencil sketch, drawn at a table in a restaurant, outlining Hitler's design for the original Volkswagen, which was retained by that make of automobile so long as it was the foreign vehicle most widely sold in the United States.)


A friend of mine has shown his copy to many casual acquaintances and reports that it was unexpectedly effective in making Americans aware of how much Yiddish excrement has been smeared over their faces for the past fifty years. At all events, you will learn from the volume that while the great champion of our race was not a great artist, he was, in art, as in his ultimate political purposes, an honest man, and we may hope that he will be remembered as such by the descendants of the nation that defeated him and destroyed itself -- and that memory of him may even give to those descendants some strength to endure the degradation and wretchedness to which, as they will discover before long, they have been condemned by their thoughtless parents.

This article originally appeared in Liberty Bell magazine, published monthly by George P. Dietz from September 1973 to February 1999. For reprint information please write to Liberty Bell Publications, Post Office Box 21, Reedy WV 25270 USA.

Copyright ©2001 Kevin Alfred Strom.  Back to Revilo P. Oliver Index