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of Tuscany. His freedom of expression has been the essential factor without which his inspiration and enthusiasm would have had no outlet. 
There are artists today who live in comparative economic security. That they may be threatened with the loss of that security as well as their artistic independence is not obvious to them. It may not occur to them that their economic condition, as well as their spiritual freedom, is subject to the tendencies of political forces. They are not politically minded and their education probably is against their being so, as they have concentrated in a single direction, and live for, and by, their art. It is mainly in the group of those who are economically affected that the awareness takes place. 
The artists to whom the horrors and destruction of war are abhorrent and whose entire lives and processes of thought are bound up with the forces of liberty and benevolence, whether they realize it or not, should at least join openly and whole heartedly this movement for peace and for the preservation of their liberties. 
In times of war the artist who is not in accord with the philosophies and policies of the controlling power of government is in an unhappy condition indeed. He may be sent to a prison camp, and, if he is not opposed to those philosophies and policies the best he may hope for is the trenches, or that his services will be useful to the controlling powers to camouflage and conceal implements of destruction. This is contrary to the sentiments of humanity and spiritual enlightenment of which the artist should be the torch bearer.
When people say there is no danger of Fascism in this country it seems to me to mean that they are not conscious of the great and inevitable shaping of forces in that direction going on in the world today. They think America is isolated and uninfluenced politically by those forces. In Europe we have seen the beginnings of those movements which have ended in the seizure of power, then the militarization and regimentation of the people, with the accompanying stifling of democratic and cultural liberties. 
We have seen the great state of Louisiana become subservient to the whims of a demagogue and many of the established constitutional rights of free expression suppressed. 
Artists in Fascist countries, because of economic depression and expenditures for war, have lost their private patrons except in the case of the favored few, and the meager support of the government is conditional to complete acceptance of the acts and policies of the government. The forces of Fascism so confuse the fundamental issues that the unthinking man risks to be herded like sheep into the corrals of a Fascistic state unless consciousness of the danger of loss of his freedom is brought before his eyes. 
The artist, through organization will serve culture and may do much to keep the beacon of warning alight to show the threat to liberty, democracy and peace. 

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ARTISTS' BOYCOTT OF BERLIN OLYMPICS 
ART EXHIBITION

GEORGE BIDDLE

The subject on which I was asked to speak to you is the appropriate and necessary reasons why the united artists of America should pass a resolution protesting our participation in any exhibition in connection with the Olympic games in Berlin, sponsored by the present Nazi government. 
Such a resolution is only effective if we, ourselves, clearly understand the basis of such protest and its practical significance to our life and growth as American artists. 
As with many of us, my own art development had its roots in Europe. Twenty-five years ago I studied in Germany and Italy. I have today the deepest respect and gratitude for the high processional standards of art and for the liberal inheritance which these two countries have given us. I am personally happy that a few of my closest friends are German and Italian artists. 
The truth of the matter is this: any nation, be it of little consequence or be it one of those favored few which have contributed most generously to the world's happiness, has within its body both the seeds of liberalism and the germs of bigotry, suppression and hatred. Italy had its renaissance. Today it has in it the seeds of science and enlightenment. Germany has given its music and its philosophy. Today it has in it the seeds of liberal progress. America has had its William Penns, its Franklins, its Paynes, its Jeffersons and Justice Holmes. It has also in its heritage witch burnings, Ku Klux Klans, Vigilantes and lynchings. Today they are with us. Tomorrow they can ride with us in the saddle. 
As individual artists we have been invited to participate in an exhibition by a government which sponsors the destruction of all freedom in art. This invitation directly challenges the professional code of ethics of American artists. If no such code exists, it is urgent that we adopt one. As [[crossed-out]] a congress of [[/crossed-out]] American artists we can emphatically state our attitude toward such an invitation. 
Our protest is not against a form of government, which to us, as Americans, is abhorrent. Our protest in not against Germany or Italy as such. As [[crossed-out]] realistic [[/crossed-out]] American artists we protest against participation with a government, which sponsors racial discrimination, the censorship of free speech and free expression, and the glorification of war, hatred and sadism. 
There is an urgent need today that we align ourselves in conformity with such policies as we feel necessary to our professional self-preservation. There

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