Cette etude a analyse la presence des sculpteurs italiens a Paris du debut du XX siecle a la fin ... more Cette etude a analyse la presence des sculpteurs italiens a Paris du debut du XX siecle a la fin des annees Trente, afin de reconstituer un chapitre important de l'histoire des echanges artistiques en France. Nous nous sommes servis d'une methode historique et philologique, qui a bien ete appliquee aux ecrits critiques et a la presse de l'epoque. Pour ce qui concerne le debut du siecle, nous avons remarque une participation considerable de la part des italiens aux principaux evenements expositifs de la capitale comme les Salons officiels; le succes de public et commercial leur avait permis d'obtenir une place parmi les artistes a la mode les plus connus. Pendant les annees Vingt, nous avons constate un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant a la situation historique italienne, qui en ce temps subissait des importants changements dus a l'ascension du regime fasciste. Les italiens qui etaient encore presents en France apre...
Author(s): Giorio, Maria Beatrice | Abstract: The paper demonstrates the importance of the Classi... more Author(s): Giorio, Maria Beatrice | Abstract: The paper demonstrates the importance of the Classical iconography, except the Ancient Roman one, in the Fascist propaganda. It starts considering how the Fascism has also taken inspiration from Ancient Greek artistic examples, often transforming and misinterpreting their original meaning. I especially focus my attention on the famous ancient masterpieces of the Nike of Samotracia, the Doryphoros and the Discobolus, that compared in various propaganda publications. In the second part of the article, I examine how Italian Renaissance's iconographies were recovered in order to sponsorize social policies, concerning family and health, also promoting the superiority of the Aryan race ideology. Finally I dedicate a short paragraph to the XVII century's Classicism and its revival in the Fascist Era, through the rediscovery of Guido Reni's paintings in Fascist propaganda publications.
The article aims to offer an original contribution to the question of Fascism and its politics of... more The article aims to offer an original contribution to the question of Fascism and its politics of pictures, with the objective of enlarging the present research state, exclusively concentrated, until now, on Roman sources of inspiration for Fascist propaganda. Our attention will consequently be totally focused on the reuse of original masterpieces, and their iconographies, from Ancient Greece to Italian Renaissance and Seventeenth Italian Classicism in the Fascist period. The study will consider various forms of expression, such as different material types of publication (newspapers, periodicals, postcards, propaganda posters) and some significant Fascist artworks from numismatic and philatelic art.
Il presente articolo intende studiare le fasi che portarono ad una rinascita della scultura itali... more Il presente articolo intende studiare le fasi che portarono ad una rinascita della scultura italiana dopo il primo conflitto mondiale. Lo studio inizierà con una breve analisi della produzione scultorea di regime al fine di chiarire le condizioni in cui operarono gli artisti durante il Ventennio e negli anni della guerra. L'indagine si soffermerà, in seguito, sulla campagna di distruzione delle opere plastiche e monumentali fasciste da parte delle forze partigiane; l'obiettivo di questa sezione della ricerca sarà di dimostrare come la scultura italiana subì pesantemente le conseguenze degli eventi bellici prima di poter rielaborare un linguaggio nuovo e originale. La parte centrale del saggio studierà la scultura del Dopoguerra, approfondendo alcuni casi esemplari; l'analisi permetterà di comprovare come gli scultori attivi all'indomani della Liberazione riuscirono a concilire la propria sensibilità creativa con i mutamenti storici sopraggiunti, dando vita ad un rinascita artistica, evidente, in particolare, nei monumenti alla Resistenza.
During the first half of the twentieth century all Italian immigrant sculptors in the United Stat... more During the first half of the twentieth century all Italian immigrant sculptors in the United States used to participated actively in local artistic life. This study aims to elucidate the history of their contribution to Italian American artistic production on the West Coast; the attention will be focused on the most important monumental commissions and art competitions, with the aim of reconstructing the cultural relations between these artists and American official institutions. The inquiry will be pursued into the Fascist period, delving deeply into the artistic propaganda promoted by Mussolini in the American context during the thirties; it will be especially demonstrated that the Italian American community of sculptors took part in this policy, becoming a significant tool to spread the values of Italian civilization abroad according to the Fascist conception.
During the twenties and thirties, Fascist government extends his control on Italian cultural poli... more During the twenties and thirties, Fascist government extends his control on Italian cultural politics; a good promotion of the art producted in Italy becomes possible by exhibitions and international events. In that time Antonio Maraini takes the role of National Commissioner in Fascist syndicate of Fine Arts and of General Secretary of the Venise Biennale, by managing artistical events.
The article analyzes the interventions of Maraini as an art critic in Parisian art magazines from 1922 to 1935; many articles are proposed, especially all those published in "L'Amour de l'art" and "La Renaissance de l'art français et des industries de luxe" which are so important for a good knowledge of Italian art in France.
Cette etude a analyse la presence des sculpteurs italiens a Paris du debut du XX siecle a la fin ... more Cette etude a analyse la presence des sculpteurs italiens a Paris du debut du XX siecle a la fin des annees Trente, afin de reconstituer un chapitre important de l'histoire des echanges artistiques en France. Nous nous sommes servis d'une methode historique et philologique, qui a bien ete appliquee aux ecrits critiques et a la presse de l'epoque. Pour ce qui concerne le debut du siecle, nous avons remarque une participation considerable de la part des italiens aux principaux evenements expositifs de la capitale comme les Salons officiels; le succes de public et commercial leur avait permis d'obtenir une place parmi les artistes a la mode les plus connus. Pendant les annees Vingt, nous avons constate un nombre moins significatif de sculpteurs; nous avons lu ce fait en nous rapportant a la situation historique italienne, qui en ce temps subissait des importants changements dus a l'ascension du regime fasciste. Les italiens qui etaient encore presents en France apre...
Author(s): Giorio, Maria Beatrice | Abstract: The paper demonstrates the importance of the Classi... more Author(s): Giorio, Maria Beatrice | Abstract: The paper demonstrates the importance of the Classical iconography, except the Ancient Roman one, in the Fascist propaganda. It starts considering how the Fascism has also taken inspiration from Ancient Greek artistic examples, often transforming and misinterpreting their original meaning. I especially focus my attention on the famous ancient masterpieces of the Nike of Samotracia, the Doryphoros and the Discobolus, that compared in various propaganda publications. In the second part of the article, I examine how Italian Renaissance's iconographies were recovered in order to sponsorize social policies, concerning family and health, also promoting the superiority of the Aryan race ideology. Finally I dedicate a short paragraph to the XVII century's Classicism and its revival in the Fascist Era, through the rediscovery of Guido Reni's paintings in Fascist propaganda publications.
The article aims to offer an original contribution to the question of Fascism and its politics of... more The article aims to offer an original contribution to the question of Fascism and its politics of pictures, with the objective of enlarging the present research state, exclusively concentrated, until now, on Roman sources of inspiration for Fascist propaganda. Our attention will consequently be totally focused on the reuse of original masterpieces, and their iconographies, from Ancient Greece to Italian Renaissance and Seventeenth Italian Classicism in the Fascist period. The study will consider various forms of expression, such as different material types of publication (newspapers, periodicals, postcards, propaganda posters) and some significant Fascist artworks from numismatic and philatelic art.
Il presente articolo intende studiare le fasi che portarono ad una rinascita della scultura itali... more Il presente articolo intende studiare le fasi che portarono ad una rinascita della scultura italiana dopo il primo conflitto mondiale. Lo studio inizierà con una breve analisi della produzione scultorea di regime al fine di chiarire le condizioni in cui operarono gli artisti durante il Ventennio e negli anni della guerra. L'indagine si soffermerà, in seguito, sulla campagna di distruzione delle opere plastiche e monumentali fasciste da parte delle forze partigiane; l'obiettivo di questa sezione della ricerca sarà di dimostrare come la scultura italiana subì pesantemente le conseguenze degli eventi bellici prima di poter rielaborare un linguaggio nuovo e originale. La parte centrale del saggio studierà la scultura del Dopoguerra, approfondendo alcuni casi esemplari; l'analisi permetterà di comprovare come gli scultori attivi all'indomani della Liberazione riuscirono a concilire la propria sensibilità creativa con i mutamenti storici sopraggiunti, dando vita ad un rinascita artistica, evidente, in particolare, nei monumenti alla Resistenza.
During the first half of the twentieth century all Italian immigrant sculptors in the United Stat... more During the first half of the twentieth century all Italian immigrant sculptors in the United States used to participated actively in local artistic life. This study aims to elucidate the history of their contribution to Italian American artistic production on the West Coast; the attention will be focused on the most important monumental commissions and art competitions, with the aim of reconstructing the cultural relations between these artists and American official institutions. The inquiry will be pursued into the Fascist period, delving deeply into the artistic propaganda promoted by Mussolini in the American context during the thirties; it will be especially demonstrated that the Italian American community of sculptors took part in this policy, becoming a significant tool to spread the values of Italian civilization abroad according to the Fascist conception.
During the twenties and thirties, Fascist government extends his control on Italian cultural poli... more During the twenties and thirties, Fascist government extends his control on Italian cultural politics; a good promotion of the art producted in Italy becomes possible by exhibitions and international events. In that time Antonio Maraini takes the role of National Commissioner in Fascist syndicate of Fine Arts and of General Secretary of the Venise Biennale, by managing artistical events.
The article analyzes the interventions of Maraini as an art critic in Parisian art magazines from 1922 to 1935; many articles are proposed, especially all those published in "L'Amour de l'art" and "La Renaissance de l'art français et des industries de luxe" which are so important for a good knowledge of Italian art in France.
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Our attention will consequently be totally focused on the reuse of original masterpieces, and their iconographies, from Ancient Greece to Italian Renaissance and Seventeenth Italian Classicism in the Fascist period. The study will consider various forms of expression, such as different material types of publication (newspapers, periodicals, postcards, propaganda posters) and some significant Fascist artworks from numismatic and philatelic art.
The article analyzes the interventions of Maraini as an art critic in Parisian art magazines from 1922 to 1935; many articles are proposed, especially all those published in "L'Amour de l'art" and "La Renaissance de l'art français et des industries de luxe" which are so important for a good knowledge of Italian art in France.
Our attention will consequently be totally focused on the reuse of original masterpieces, and their iconographies, from Ancient Greece to Italian Renaissance and Seventeenth Italian Classicism in the Fascist period. The study will consider various forms of expression, such as different material types of publication (newspapers, periodicals, postcards, propaganda posters) and some significant Fascist artworks from numismatic and philatelic art.
The article analyzes the interventions of Maraini as an art critic in Parisian art magazines from 1922 to 1935; many articles are proposed, especially all those published in "L'Amour de l'art" and "La Renaissance de l'art français et des industries de luxe" which are so important for a good knowledge of Italian art in France.