Category Archives: Durer Secrets and Conspiracies

All posts and articles about Albrecht Durer Secrets and the Conspiracies embedded in his art

The Dürer Mystery: New Revelations on Amazon-Be Afraid

The Dürer Mystery: New Revelations Paperback – September 9, 2015

The SHIPS of MELENCOLIA-Part 4

 

THE FIFTH HIDDEN SHIP
THE FOURTH HIDDEN SHIP

Copyright Dr. Elizabeth Garner and Kathy Lawler June 11, 2014

This ship is located  180 degrees up from the nails that are located on the ground in front of the Melencolia. It is “traveling” in the same direction as the other ships we’ve found so far and is on the right side of the print hidden in Melencolia’s dress, which is indicating the past.

Once again it is a carrack such as we’ve seen before

The Portugeuse carrack of the 1500’s and 1600’s

The red arrow is pointing to the front hull with the distinctive side covering only partially displayed.

The yellow arrow is pointing to the bottom of the ship.

How many more ships will we find?

The SHIPS of MELENCOLIA-Part 3

the ship in the folds of the putto, Margret, in Melencolia

the ship in the folds of the putto, Margret, in Melencolia

Copyright Dr. Elizabeth Garner and Kathy Lawler Jun 8, 2014

We have already seen in Part two that there is a ship hidden in the folds of the putto’s dress above.

But what comes as a surprise, but actually shouldn’t as the data is analyzed, is that THERE’S ANOTHER SHIP hidden in the folds of the putto, Margret’s dress:

2nd ship on the putto, Margret
2nd ship on the putto, Margret

The red oval is outlining the first ship, which is smaller, that was found in the putto Margret’s dress. The blue box encompasses the hull of the carrack that is found directly below the first smaller ship, with the orange arrow basically indicating the directional focus of this carrack’s hull. The green arrow is pouting to the distinctive cross hull  design of the carrack that we saw before.

The yellow box with the big yellow arrow is pointing to at least two Jewish stars, six pointed. The compass on the top of the calipers Melencolia holds indicates the direction that these two ships are heading for-again EAST, from whence the Duerer family ancestors came from.

So what is really going on here?

We need to remember that Margret was a TWIN,the second of the two girl twins born Jan 20, 1476, and that the first twin girl was named Agnes I.  According to the Nuremberg death registries, Agnes died in childhood, which is why a later girl child born was called Agnes II.

Albrecht could never leave out a reference to his other twin sister, Agnes or the fact that these two siblings were twins. So he puts the BIG ship directly below the small ship, indicating that Margret had lived into adulthood, dying during the creation of this composition but also giving reference to Agnes I.

The two Jewish stars above the bigger ship and on the side of the smaller ship, are indications that his twin sisters were crypto-Jews, as was the whole family.

Where will we find the next ship?

The SHIPS of MELENCOLIA-Part 2

The first sailing ship found in Melencolia

The first sailing ship found in Melencolia

Copyright June 8, 2014 Dr. Elizabeth Garner and Kathy Lawler

As previously  reported in the first article about the mysterious ships that are encoded in Melencolia which you see again here, a Portuguese or Spanish medieval carrackthere are more ships that have been found on the right side of the composition, delineated by the putto, who represents the co-artist Margret.

As the Duerer Cipher reveals, anything on the right side of a “two storied” composition indicates something from the past. Margret and Albrecht were both working on this print as a tribute to their mother, Barbara, who they knew had started to die in 1513.  Then suddenly, Margret died closely after her mother, sometime between May 16, 1514 and August 24, 1514, according to the death registries published by the Nuremberg St. Lorenze church.

As discovered by P. Weber in 1900, the ENTIRE theory that Der Reuter, the 1514 St. Jerome in the Study and Melencolia COULD NEVER HAVE BEEN PRODUCED AS PART OF A TRILOGY, the “Meisterstiches, ” as they still are called today, since the records of Anton Tucher’s cashbook, the Losunger, or President of the Nuremberg city government (the City Council) PROVE that Tucher purchased from Albrecht on October 13, 1515, three “St. Jerome’s” and FOUR Melencolia prints as presents for friends in Rome”, has been totally ignored. Otherwise, Albrecht GAVE these two paired prints, The St Jerome and Melencolia, without Der Reuter, to very highly placed courtiers to get his pension back when he went to Antwerp to regain the pension he had lost upon the death of Emperor Maximilian in 1519.

Der Reuter was made in 1513, so it never made any sense that Melencolia might have been “numbered” as  1. These three prints were never interconnected and the perpetuation of this myth for another 114 years after a “recognized, at the time, Duerer expert” blew the theory apart, but is perpetuated in ALL art history classes today, is an ridiculous, proving that academia merely repeats over and over the inaccurate research about Albrecht Duerer. But of course, it’s always about the Italian Renaissance artists, so why should they care?  THEY DON’T.   But let’s get back to the second ship in Melencolia. Here is the image of the second ship in Melencolia, and without surprise, It is encoded in the folds of the drapery of the putto, Margret, on the right side of her dress:

the ship in the folds of the putto, Margret, in Melencolia
the ship in the folds of the of the dress on the putto, Margret, in Melencolia

What you see in this image are a number of symbols.  The ship itself is within the bounds of the red oval with the yellow arrow pointing to the flag flying from it’s masthead. the flag appears encoded but we haven’t figured that out yet, please feel free to try to do so. The purple arrow points to the what appears to be the masthead, and it appears to be a bird of some sort, a very large bird. The object that is circled in the blue oval with the orange arrow pointing to it is a telescope, another telescope.  Both the position of the ship and the directional clue of the telescope almost mirrors the direction that the first ship found is traveling towards, and that would be EAST, towards the past.   How many more ships will we find?

The SHIPS of MELENCOLIA-Part 1

 

The original figure with the crown found in the drapery
The original figure with the crown found in the drapery

Copyright Dr. Elizabeth Garner with Kathy Lawler, June 8, 2014

There are so many new symbols and encodings that have been found recently in Melencolia, it is difficult to decide which ones to present first, so we have chosen to start with the ships since we have already revealed the fact that this composition contains compasses indicating places to which to sail.

The first ship found is actually embedded in a triple encoded symbol, the figure with eyes and a crown and a shoulder embedded in one of the whitest of melancholia’s dress drapery, which you see here

As you can see towards the right, there is a figure staring out at all of us with two eyes, wearing a crown, whose right shoulder is drawn with a dark line that comes down to the hem of Melencolia’s dress.

What astonished us was to find that this figure was actually a triple encoded symbol and we found the first sailing ship that is embedded in this composition.  It is the largest of the sailing ships found to date.

The first sailing ship found in Melencolia
The first sailing ship found in Melencolia

This ship is a carrack. Carracks were ocean-going ships: large enough to be stable in heavy seas, and roomy enough to carry provisions for long voyages. They were the ships in which the Portuguese and the Spanish explored the world in the 15th and 16th centuries, the exact times that Duerer and his sister would have known these ships. In Portuguese this type was called a nau, while in Spanish it is called a carraca or nao. In French it was called a caraque or nef. Columbus sailed in a carrack.

The red oval circle outlines the hull of the ship.

A typical carrack

The blue rectangle outlines the rectangular upper part of the ship that typically surrounded the hull, pointed to by the yellow arrow

The two orange arrows are outlining the forward mast where the green arrow is pointing to the flag flying on this mast.

The yellow box outlines a large figure that is sitting in the ship.

Since we have learned from the Duerer Cipher that compositions which are basically separated in half, please see my article on the Eustachium where this is clearly indicated, in this case  the putto sitting on the millstone dissects the composition and thus  two stories are being told.  Since this ship is embedded on the right side of the composition, we know this ship is sailing towards the “past.” Based upon the compasses already found and reported, this ship is sailing towards Eastern Europe.

How many more ships will we find in Melencolia?

DANGER! DEATH AT THE MUSEUMS WEEK

durer albrecht sec art institute of chigago murder death

 

LET’S GET TO THE GRUESOME THIS WEEK-DEATHS AND MURDERS AT THE MUSEUMS!  FOR YOUR READING PLEASURE:

 

Charges are pending against a 29-year-old man who allegedly stabbed another man in the neck outside the Art Institute of Chicago on the evening of June 10.

The stabbing occurred in the Art Institute’s south garden, which houses several large sculptures including Alexander Calder’s Flying Dragon.

Both men are homeless, according to  and the 57-year-old victim remains in critical condition.

Officials at the museum were able to provide a detailed description of the assailant, who was apprehended after fleeing the scene. He currently faces charges of either aggravated battery or attempted murder.

“I’m surprised that something like this would happen outside the art museum, especially on a day like today with so many people out,” said a local resident.

The Art Institute of Chicago's south garden.

Strangely, this isn’t the first time this year that violence has broken out in close proximity to a museum.

The Art Institute of Chicago was recently named the world’s favorite museum by TripAdvisor, an accolade we hope won’t be diminished by this act of violence.

https://news.artnet.com/art-world/man-stabbed-at-art-institute-chicago-

 

TRAVESTY! AND HOPE-THE REAL IDIOT RESIGNS-BPL NON THEFT

durer albrecht rembrandt sex renaissance boston public library art theft

 

THIS IS JUST A QUICK UPDATE, WE WILL GET BACK TO THE TRUE TRAVESTY IN THIS MESS AT THE BOSTON PUBLIC LIBRARY, THE RAILROADING OUT OF ONE OF THE FINEST FEMALE LIBRARY PRESIDENTS IN THE USA WHO WAS RAILROADED OUT BY THE POLITICAL IDIOTS,  A STORY THAT SHOULD NOT BE BE LEFT TO DIE. 

IT’S ALWAYS THE FEMALE WHO GETS THE SHAFT AND TAKES THE FALL,  NOT THE MALES, HAPPENED AT SOTHEBY’S AND CHRISTIES IN 2004,  AND GUYS WONDER WHY WOMEN ARE SICK OF WORKING TWICE AS HARD, DANCING IN HEELS BACKWARDS, AND HAVING TO DO IT 3 TIMES BETTER THAN MOST OF THE LAZY SLOUCHES AROUND. THE SEXISM IS ENOUGH, WE’RE TIRED OF RAPE, BURNINGS, WARS, DOMESTIC ABUSE, ANYONE TRYING TO CONTROL OUR BODIES. 

The chairman of the Boston Public Library Board of Trustees has announced his resignation following a controversy over valuable art that went missing but was later found misplaced at the library.

The library released a statement Thursday saying Jeffrey Rudman will resign as Board of Trustees chairman July 3, the same day library President Amy Ryan is resigning following the same controversy.

A spokeswoman for Walsh says the mayor told Rudman during a meeting Thursday morning that he wanted the library to go in a different direction, and Rudman submitted his resignation. The mayor’s office declined to comment on whether Walsh asked Rudman to resign.

A 1634 Rembrandt etching and 1504 Durer engraving disappeared last month, prompting calls for better security. They were found last week misfiled at the library.

 

FINALLY SOME JUSTICE, THE HEAD TRUSTEE GOES ALSO AND THE IDIOT POLITICIAN LIAR GETS TO RUN THE SHOW.  “THE POWER LIES IN THE DECEPTIONS, NOT THE TRUTH”

 

HOW DOES THAT SIT WITH Y’ALL?

BIZARRE! The $179 mill PICASSO;FIFA STINK; art implosion

durer albrecht sex picasso christies apocalypse global explosions

DON’T FORGET THE PAINTING WAS BOUGHT BY A MEMBER OF QATAR’S AL-THANI FAMILY, THE SAME FAMILY WITH THE DEAD 48-YEAR OLD PRINCE FROM DRUGS,  AND MAYBE INTENDED AS A BRIBE TO FIFA? AFTER ALL QATAR GETS THE WORLD SOCCER CUP AFTER RUSSIA,  PUTIN BRIBED FIFA WITH A PICASSO STOLEN FROM THE HERMITAGE AND QATAR HAS TEMPERATURES OVER 140 DEGREES.  ARE THE FOOTBALLERS GOING TO SURVIVE THAT HEAT?

The $179.4 million sale of Pablo Picasso’s Les Femmes d’Alger (Version ‘O’) (1955)  at Christie’s  was greeted with the usual media frenzy, but no one who was paying attention was truly shocked. A lot of the commentary focused on the mind-numbing sum as a symbol of inequality—but then inequality is the one stable fact of contemporary life.Yet something remarkable did happen between the Picasso sale and the last auction-house record at Christie’s, the $142.4 million sale of Francis Bacon’s Three Studies of Lucian Freud in November 2013

In inflation-adjusted terms, that means that between Bacon’s $142 million two years ago and Picasso’s nearly $180 million last week, a new threshold was crossed.

Les Femmes d’Alger isn’t just the most expensive painting ever sold at auction. It is really the most expensive painting ever sold at auction.

 

HOW COME NO ONE TALKS ABOUT INFLATION OR THE FILTHY RICH?

The existence of inflation isn’t exactly an obscure fact, so why this hasn’t gotten more attention inChristie’s official PR.

Maybe emphasizing the existence of inflation makes all their other “records” immediately seem like a lot of hype, which is what they mainly are.

AND THEN THE CRASH IN ART MARKETS BEGAN!!!!!!!!!!

The auction houses don’t want to be trumpeting the line of thought that the last time the market flew this high was just before an epoch-making global crash that it has taken us a quarter century to return from. It’s much better to talk about how collectors are “chasing masterpieces” or how its all about the fact that now “art is an asset class”—talking points, incidentally, that were also very much a fixture of the late-1980s chatter about the art market boom.

In any case, we are, as of last week, in uncharted art-market territory. Does the fact that this milestone has been passed mean that a red light should be flashing for observers?

 

FACT: IF THE STINKING RICH GET RICHER, ART MARKETS WILL THRIVE.DSDDDSD

The answer, it seems to be found almost entirely outside of the auction houses: If the wealthy continue to get wealthier, the art market will thrive. 

DZ created by a maniacal property bubble that was shortly to implode in a spectacular way, issuing in decades of stagnation for Japan. In 1990, the Bubble Economy was already coming apart, and at Christie’s, beneath the mega-lot fireworks, the art market was already showing signs of stress.

 

GLOBAL ECONOMIES COMING APART-APOCALYPSE HAS BEGUN

This does not seem to be exactly where we sit in 2015. Our global economy is riddled with contradictions—ask a Greek—but the rich are making out like bandits at the moment: The Organisation for Economic Cooperation and Development released a report saying that the gap between rich and poor is at its highest point since their record-keeping began. In the auction room, the sound of champagne corks popping drowns out all worries.

 

DR. DOOM, WORLD ECONOMIST-ART AS MONEY LAUNDERING, TAX EVASION AND THEFT

What schemes are going on behind the scenes to keep it all together, we cannot know. The economist Nouriel Roubini (aka “Dr. Doom,” aka a “minor collector of contemporary art”) has made some headlines of late addressing the art world’s seedier side. “As I study and go to galleries and art fairs, I see that there is a lot of behavior that is shady at best,” he told CNN. “Some people use art as a form of money laundering…. Other people use money for forms of tax evasion…. The behaviors of the auction houses have become problematic.”

No one on the inside is going to spoil the party by dishing on such shenanigans now, with business booming. But as far as we can draw historical parallels between the two moments, we might just take the opportunity of Les Femmes d’Alger,  through the lens of history,  SIGNALS the kind of nasty business that might well be building up beneath all the happy talk about “new records.”

https://news.artnet.com/market/picasso-painting-broke-real-record-300