1,721,031 research outputs found
Positively the only person who is really interested in the show”: Romeo Toninelli Collector and Diplomat between Milan and New York
No full textThe Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days of Fascism
No full textDuring 1924 the Nave Italia visited every Latin American city with a significant Italian community. This ship carried industrial and artisanal products, and numerous artworks by commercially successful but aesthetically conservative Italian artists. The Italia aimed to establish commercial partnerships with the emerging markets of Latin America, and to extend the political influence of Italy across the Atlantic. To do so, the organizers emphasized the concept of latinità, suggesting a common heritage shared by Italy and Latin America. This paper analyzes the artistic content of the Italia and how it manifested the ambiguities of Fascism’s project of cultural colonization of Latin America. While most visitors of the Italia did not notice any anticipations of Fascism in the artworks on view, the Mexican Muralists did. I argue that their violent reaction towards the art on the Italia indicates the presence of embedded traces of Fascism in the apparently inoffensive aesthetic of the decora..
The Via della Conciliazione (Road of Reconciliation): Fascist Urbanism and the De-Urbanization of the Working Class in Interwar Rome
No full textReview of Michael Tymkiw, Nazi Exhibition Design and Modernism (University of Minnesota Press, 2018)
No full textBaroquemania: Italian Visual Culture and the Construction of National Identity, 1898–1945
No full textConspicuously Inconspicuous: Federico Baronello’s EUR_Libya and the Photographic Memory of Italian Colonialism
No full textAztec Cubists Between Paris and New York: Diego Rivera, Marius de Zayas, and the Reception of Mexican Antiquities in the 1910s
No full textDiego Rivera's identity as a Mexican played a fundamental role in the construction of his artistic style and persona. Indeed, most of his murals include references to Mexican folk and indigenous art, and to the Aztec and Mayan past—depicted as a peaceful utopia contrasting with the violence of the Spanish Conquest. Rivera was also an important collector of pre-Colombiana, acquiring more than sixty thousand such objects, now housed in the museum in Mexico City that he conceived and created for his collection
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