The Van Gogh Code

By Lowell S.V. Devin

New American artist-author Lowell S.V. Devin literally ‘shakes the sands of time’, affecting virtually every reader of his book which vividly details how the Atomic Bomb negatively changed the collective-creative spirit of Man starting in 1945. Alive with exciting inspirational research, facts and formulas, many of which never before been addressed (let alone proved), Lowell S.V. Devin's, "The Van Gogh Code" is the one book you'll want to share and discuss with friends for years to come.

"The Van Gogh Code" by Lowell S.V. Devin: A visionary journal-thesis upon The Art of the State vs The State of the Art in America and the world.

This fascinating condensed array of converging topics includes Art, Music, Science, Literature, Film, Philosophy, Politics, Medicine, History, Education, Time Travel, WW I & II and The Bomb, plus a vital re-consideration of the Bible as The Scientific-Research Instrument of The Master Creator, combined together in a virtually unstoppable hyper-condensed masterwork, further proven through direct links to his vast array of museum-grade original drawings and paintings dynamically 're-demonstrated' through his extraordinary world of new fashion-print design !

Ultimately resolved from a unique literary-religious perspective combined with his own fine art as time-travel proof, Lowell Devin triumphantly leads, "The Historic Return of Graphic Design as a Cultural Force for America and the World."

- July 1st, 2020

• Language: English
• Publisher: Lowell S.V. Devin
• Release date: Jul 25, 2019
• ISBN: 9780463225882

Lowell S.V. Devin

About Lowell S.V. Devin and his book,"The Van Gogh Code"********************************************************EMERGENCY UPDATE: Sunday, May 23rd, 2021*********************************************************LOWELL S.V DEVIN' S ENTIRE COLLECTION OF OVER 700 ORIGINAL MIXED-MEDIUM WORKS, AS WELL AS A CUSTOM 53-PIECE FRAMED SHOWCASE OF ORIGINAL WORK - - ALL WORK AND BELONGINGS WERE COMPLETELY DESTROYED / LOST IN A HOUSE FIRE IN HIS FARMHOUSE STUDIO IN BYESVILLE OH, LOCATED SOUTH OF CAMBRIDGE, OHTHIS UNTHINKABLE TRAGEDY BEFALLING THE ART WORLD. HAPPENED ON SUNDAY, MAY 23rd, 2021.******************************************************************************************************************************Visionary new American artist-author Lowell S.V. Devin heroically details how the Atomic Bomb caused a molecular change in the collective-creative spirit of Man, predominantly effecting Art, Music, Literature and Philosophy revealed in converging clues and combined warnings hidden within the Old Testament; Shakespeare's "Hamlet" play, as well as deep within van Gogh's legacy - - ALL manifesting from 1945 and The Bomb to the present.Ultimately resolved from unique literary, religious and sociological perspectives combined with his own original fine art as visual time-travel proof, Lowell Devin triumphantly leads the Historic Return of Graphic Design as a Cultural Force in America and the world." The difference between my book and other esoteric code books is simple - - I can PROVE it." - Lowell S.V. DevinEasily view HUNDREDS of his works online using Bing or Google (images) by simply typing-in the name:Lowell S.V. Devin or copy/paste http://www.FashionArtLeader.com

Book preview

Le critique bombaste

THE STATE OF THE ART vs. THE ART OF THE STATE

Circa 1913 a.d. to the Present

"The invention of the camera itself, appearing circa 1840, and the imminent threat it posed to displacing fine-art alchemistically represented the earliest form of Allopathic interference in the creative arts."

- Lowell S.V. Devin

Inspiration or Insurrection ?

Do law and justice have anything in common today? Barring the condescending coincidence that they were both of French extraction and that they both used paint and brushes, that the grossly inept, that J. Dubuffet actually sought inspiration from the esteemed Msr. Honoré Daumier (as one laughable New York art critic wrote), is tantamount to saying that Art Brut(us) conspirator actually 'sought' venerable inspiration from Julius Caesar through the infamous act of butchering him!

Et tu, (Art) Brute? Then fall Daumier ! (with apologies to William Shakespeare)

In truth: 1) Dubuffet was 'inspired' by Hans Prinzhorn's book, Bildneri der Geisteskranen, on the art of the insane; 2) The artist whose works attracted him the most was Paul Klee, who had also used children's as well as psychopathic art as 'sources'.

Perhaps if art critics were required (by some mythical decree) to first be established (respective) artist's themselves, operationally familiar with Renaissance and not Revisionist Doctrine, they could possibly proffer a more highly objectified truthful appraisal of facts by virtue of which their opinions might be considered substantively trustworthy; after all, to those familiar with the canons of philosophy, it would be unheard-of for a non-philosopher to attempt to criticize or even dare critique the work of an acknowledged philosopher. He or she would be summarily judged outrageously presumptuous without first earning the obligatory 'commencement stripes' of the true philosophical initiate. Until such appointed time, not only would his or her opinions never be taken seriously, they would be utterly ignored. Similar protocol applies to the world of law and lawyers, doctors and medicine, and so on.

(Only does it most wantonly apparent that the very person with the least degree of direct or true creative demonstrative ability or experience is heard having the most to say.)

What was once justly condemned for quite literally, the pathetic excrement of animals from which it was indeed (de)composed of (re: Dubuffet's Art Brut fecal-composite so-called 'art form ') should very well have deeply offended the Western (U.S.) art-viewing audience, had they not been so overwhelmingly distracted by the ensuing jubilation of the Post WW II. 'homecoming' recovery years.

Citing the only uninterrupted non-inflationary (near-20 yr.) cycle of true American prosperity, commencing September 2nd, 1945, (the signing of the Instrument of Surrender by Japan on board the U.S. Battleship Missouri in Tokyo Bay, thereby ending WW II.) to November 22nd, 1963, the assassination of John F. Kennedy, said art form, fresh from the attics of Paris, was surreptitiously seized by global internationalist families, and through money alone, such freshly-painted (valueless) Post-War acquisitions were 'officially' deemed to be historical artifacts, all while America's back was turned.

Meanwhile, immense wartime cash revenues from internationalist banker profiteers helped sire brand-new art museums to sanctimoniously display the aforementioned dishonorable Spoils.

Such aesthetically treasonous action further necessitated the collusion-recruitment of the obsequious, fawning Art Critic, who, forsaking all prior academic sense of the Past, Truth and Beauty, Sacred and Profane, etc., et al, "Seeking the bubble reputation even in the canon's mouth... nevertheless praised and extolled the 'priceless creative virtues' of, what the present Artist-Author glibly refers to as, The Emperor's Marxist Modern Post-War(drobe)", critics who still perform to this day in order to keep their jobs as court (media) sycophants! What more vainly corrupt Allopathic Fable dare be told?

In truth, such inept 'works' could never have evolved on their own (owing nothing to true historical manner), hence the cunning serendipity of literal overnight fabrication of exclusive corporate-owned Marxist Modern Art Museums even before the paint was officially dry (on either museum or 'art') on the Allopathic museum artifacts! This premeditated 'art-before-the-hearse' ploy, when seen in the light of truth, served to expose the perverse material motives of the self-serving international oligarchies who have long since turned the once-great American experience into the hapless and droll Land of the Inflatable Icon, first through the outright usurpation of American currency through the internationalist credit monopoly-mockery of the Federal Reserve System (usurping the power of both Congress and the United States Supreme Court in order to invent itself via private consortium of inter-nationalist bankers, c.1913), presently turning their globalist sights on history itself through their Revisionist network of historical assassins.

By the time they are through re-creating 'fictionalized history' to suite their agenda, the Revisionists will have made the suspect conflagrations c. 273, 389, and 640 b.c. set against the Great Library of Alexandria, Egypt appear as smoldering campfires in comparison.

True art history establishes the most fabulous art created by Man was either conscripted through the Church or commissioned by nobility, (save the artist lacking the modern-day advantage of duplicating or re-printing the 'painted image') or sold-off for a mere pittance, only later declared to be 'posthumously priceless' by professional examiners methodically trained in distinguishing originals from forgeries in order to establish the correct evolutionary school (period) which such respective art originally begat or represented.

Conversely, post-atomic Sim-Marxist Modern pseudo-genre is incapable of providing such proof due to the irrefutable fact that it collectively represents a method of forced mockery (by way of Atomic-Polarity Molecular Reversal) of that which is already FALSE (untraceable) allegiance to the Primitives!

Such is the original and express purpose of museums to begin with; to define, determine, and preserve the foibles and inner mysteries of Man's history, not to succumb to the vain and treasonous history of Post-War finance. Museums are to teach, not to perpetuate a wholesale proxy-allegiance with the truly sacred Primitives, the latter example of which magically espoused the Sacred Ceremonial Rites of the original Hunter-Gatherer.

Therefore, money both 'created' and perpetuated a new wholesale perception of evolutionary museum credibility, donning the Emperor's New Allopathic Post-War(drobe) even before the freshly-painted wares had dried, and through such brazen Marxist tactics, spawned the attritionist takeover-emergence of Contemporary Art, specifically designated for the sleeping American proletariat as further incestuous proof of blind allegiance to the Internationalist Contrivers themselves!

Yet there continue to remain stalwart hardliners; (ardent traffickers of Modern, Post-Modern, Abstract, etc.) who would vehemently insist that the 'creative force' extant to the collective-from 'Modern' is that its principal value resides in its derivative genre , yet that argument is, in-and-of-itself, totally implausible and essentially groundless, for in order to creatively justify true Derivational Form, native-intuitional Drawing Skills must be persistently self-evident within the work as (artist) resident blackboard proof of original psychological domination over his or her respective art medium, not out-of-context for the sake of 'era-only'; (the bitter essence of plagiaristic style! )

Furthermore, 'Marxist Modern' possesses less than marginal historic value and/or relevance owing to the fact that it carries no evolutionary historic-creative scale to compare it with apart from the euphemistic word-proxy kinship with the Primitives; therefore it only stands to reason why collective Marxist Modern has never gained plausible popularity or true historical recognition in viable-poster print form; i.e., it lacks true communication skills with the greater public in ANY language, therefore, desperately lacking the intuitive language of (evolutionary) drawing, Marxist Modern, in-point-of-fact, is a collectively illiterate art form, ergo, unworthy of historic merit, as it does not teach (or ‘re-teach) that which was already, in this case, taught by the original Primitives.

> This is a rational and valid explanation why Untitled remains the most overtly popularized and by far, the most highly coveted 'title' of the collective Marxist Modern, be it painting OR sculpture! In all base-actuality, gangland graffiti is a more evolved, legitimate art form than the whole of collective Modern due to the express academic fact that it (graffiti) exists as a true synthetic line-form; ‘(w)rote’ proof of active comprehension of a language in-decorum, making graffiti more publish worthy than Modern art itself !

SATIRICAL VIGNETTE : ALLOPATHIC AUDIOLOGY

Today, if something is not worth saying, people sing it.

- Beaumarchais

All truth being parallel, it must be mentioned that the zenith of material decadence in America today is revealed in the unyielding pretentious sophistry of the so-called, Rock and Roll Hall of Fame and Museum in Cleveland, OH, USA, when in-point-of-fact, no Classical Music Hall of Fame (and/or) Museum exists anywhere in the world for the very history of those who shaped, defined and gave conscious-evolutionary order and meaning to Music itself.

To illustrate: the basic retrogressive music defining the 'Post'-Western self-possessed reactionary attitudes and displaced materialism between 15 and 40+ years of age is currently sold under the collective American euphemism of 'Rock & Roll'. Said individuals have been psychologically profiled by social-media engineers to respond to highly commercialized subliminal conditioning music formats, none of which solely define the elusive definition of, Rock and Roll of which the aforementioned Hall of Fame and Museum is alleged to dynastically extol. Suffice it to say that any rudimentary acknowledgement of true musical composition has long-since been summarily exiled to the realm of de-personalized antiquity since the Polarity-Reversal of 1945, to be perennially summoned-up for the quasi-nostalgic benefit of the latent parvenu of society to revel in. The much-vaunted exception to this universal truism set forth by the artist-author, persists in the contemporary cross-consumer oriented form of the so-called Yanni music