Monet Painting in Germany Is Latest Target of Unhinged Climate Activists
The Gateway Pundit has reported on the rise of vandalism and public temper tantrums by unhinged climate activists throughout Europe.
In early October, two disturbed women from the activist group Just Stop Oil threw tomato soup over Vincent van Gogh’s ‘Sunflowers’ on display at London’s National Gallery. Thankfully the painting was protected by museum glass.
In June, another pair from Just Stop Oil glued themselves to the frame of another Vincent Van Gogh painting.
Londoners are increasingly fed up with the childish antics of the activists. After a group of lunatics glued themselves to streets earlier this month, blocking emergency vehicles and preventing a man visiting his ill wife at the hospital, a driver attempted to drag them from the intersection.
In France, a 36-year-old man dressed as an old lady tried to break the glass protecting the famous Mona Lisa painting before throwing a cake on its surface.
This weekend Claude Monet’s ‘Les Meules,’ displayed at the Potsdam Barberini museum in Germany, is the latest target. An alliance of German and Austrian activists, Letzte Generation, shared their attack on Twitter.
We make this #Monet the stage and the public the audience.
— Letzte Generation (@AufstandLastGen) October 23, 2022
Two activists in Germany‘s Potsdam’s Barberini museum have covered Claude Monet’s ‘Les Meules’ painting in mash potatoes before gluing themselves to the floor.
Activists from the ‘Letzte Generation’ (Last Generation) climate activist group entered the museum on Sunday wearing high vis jackets before approaching the painting, which sold at auction for $110million in 2019.
The incident follows a string of similar demonstrations perpetrated by activist groups across Europe.
‘We are asking society the same question as 2 women with #Tomatensuppe at London’s National Gallery last week: What is worth more, art or life?’ the climate activist group wrote on Twitter after the incident.
‘More and more people refuse to accept the destruction and endangerment of human beings. to accept life in silence.’
It is unknown at this time if the painting has protective glass or the extent of any possible damage to the historic work.
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