Fascist Visions
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€74.99
A. James Gregor
Activism
Aestheticism
Anarcho-syndicalism
Art critic
Art Journal (College Art Association journal)
Avant-garde
Bourgeoisie
Category=AGA
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Cercle Proudhon
Class conflict
Corporatism
Cubism
Degenerate art
Dictatorship
Diego Rivera
Emilio Gentile
Emily Braun
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Eugen Weber
Faisceau
Fascism and ideology
Fernand Pelloutier
Fine art
Futurism
Georges Sorel
Giorgio de Chirico
Giovanni Amendola
Giovanni Gentile
Giuseppe Mazzini
Giuseppe Terragni
Guillaume Apollinaire
Henri Bergson
Ideology
Illustration
Italian Fascism
Italian unification
Italians
Le Corbusier
Manifesto
Mario Sironi
Modernism
Modernity
Nationalism
Nazism
Opera Nazionale Balilla
Palingenetic ultranationalism
Patronage
Perjury
Piero Gobetti
Political revolution
Politics
Politique
Proletarian nation
Reactionary modernism
Reflections on Violence
Renaissance art
Return to order
Roberto Farinacci
Roger Griffin
Spoils system
Sturm und Drang
Syndicalism
The Fatherland
The Work of Art in the Age of Mechanical Reproduction
Totalitarianism
Ugo Foscolo
Venice Biennale
Vittorio Alfieri
Walter Benjamin
World War I
Zeev Sternhell
Product details
- ISBN 9780691027371
- Weight: 454g
- Dimensions: 152 x 235mm
- Publication Date: 16 Nov 1997
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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Bringing together studies by art historians, historians, and political scientists, Fascist Visions explores the themes and paradigms that pervaded protofascist and fascist aesthetic discourse, cultural policy, and artistic production in France and Italy. Whether traditionalist or innovative in idiom, art functioned as the expression of fascism's ideological polarities: nihilism and idealism, modernism and antimodernism, revolution and reaction. This volume charts the unfolding of fascist aesthetics from its genesis in nationalist and antimaterialist ideologies before World War I to its full development during the interwar period and World War II. It also highlights the shared motivations of advocates of fascist aesthetics, including artists, art critics, political activists, and government officials, outside of Germany. The eight essays in this book investigate the intersection of fascist ideology and aesthetics through a wide range of historical examples.
Topics include: theories of cultural regeneration in Italy from the Risorgimento to fascism; the impact of fascism upon the work of such artists and art critics as Ardengo Soffici, Mario Sironi, Valentine de Saint-Point, and Waldemar George; the theories of modernist urbanism developed by Georges Valois's Faisceau; and official sponsorship of painting and the decorative arts in Mussolini's Italy and in Vichy France. The contributors to this volume include Walter Adamson, Matthew Affron, Mark Antliff, Emily Braun, Michele Cone, Emilio Gentile, Nancy Locke, and Marla Stone.
Matthew Affron is Assistant Professor or Art History at the University of Virginia. He is currently writing a book on the work of Fernand Léger. Mark Antliff is Associate Professor of Art History at Queen's University in Canada. He is the author of Inventing Bergson: Cultural Politics and the Parisian Avant-Garde (Princeton). A Guggenheim Fellow in 1995-96, he is completing a book entitled The Advent of Fascism: Myth, Art, and Ideology in France.
