Expressionism as Fascist Aesthetic

Abstract

In recent years, scholarship on fascist culture and aesthetics has stressed the pluralistic landscape of Italian painting and sculpture between the wars. But within this pluralism, it is safe to say, emphasis has been given to classicism in its various stylistic and ideological guises. Classicism was, after all, the 'natural' handmaiden to the regime's most pervasive rhetoric of Italianita and romanitd.'