Arte di Stato durante il regime fascista: una storia di fallimenti nel segno dei meccanismi del "consenso"

Fabio Benzi

doi:10.6092/issn.2531-9876/8990

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Fabio Benzi University "Gabriele D'Annunzio" of Pescara-Chieti
Fabio Benzi is Full Professor of History of Contemporary Art at the University “Gabriele d’Annunzio” of Chieti- Pescara. He obtained in 1997 and 1998 the Jane and Morgan Whitney Fellowship at the Metropolitan Museum in New York. He is member of the Scientific Committee of the Galleria Nazionale d’Arte Moderna di Roma, of the Fondazione Giorgio e Isa de Chirico, of the Associazione Mario Sironi; he is scientific director of the Fondazione Biagiotti Cigna, of the Fondazione Fausto Pirandello and of the Associazione Fausto Pirandello. His field of studies is likewise oriented over modern and contemporary art. About renaissance and baroque art it can be recorded the book about roman architecture in the age of pope Sisto IV, and the works on the “studiolo ligneo” of Urbino, the “Codex Escurialensis”, the roman palaces from renaissance to baroque, the innovative studies on Gaspare Vanvitelli (Van Wittel) and XVIII century landscape painting. In the field of XX century art, he spread over different subjects. Particularly, he wrote major monographs about Futurism, italian art nouveau and art déco, and about artists such as Giorgio de Chirico, Giacomo Balla, Mario Sironi, Gino Severini, Corrado Cagli, Galileo Chini, Fausto Pirandello etc. His last book was about art in Italy between the two wars, based on his wide studies on art and politics during fascist era.

DOI:

https://doi.org/10.6092/issn.2531-9876/8990

Keywords:

Art of the state, fascist art, Margherita Sarfatti, Cipriano Efisio Oppo

Abstract

The “Art of the state” concept in fascist era is ambiguous: checking philologically the different attempts of Margherita Sarfatti and Roberto Farinacci, it is possible to realize that Mussolini himself never tried to obtain this goal: on the contrary he always vanified the different endeavors in this sense. He and his art deputies (Oppo, Bottai, Piacentini) tried instead to accomplish a politic of “consent”, more pervasive and effective than authoritarian control on artistic expressions. A politic of free art expression, associated to a wide economic help for artists and a paternalistic “soft-power”, gave the dictator a strong consent without constraints, realizing a total different situation in aestethic mood if compared to similar dictatorships of that time.

Art of the State and Fascism

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