In the aftermath of the immense devastation caused by World War I, the idea of having a strong nationalist nation led by a totalitarian government became attractive to a number of states, especially Germany and Italy. This idea seeped into almost every sphere of the society in those countries, including arts and architecture.

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How and why Classical Art got appropriated in fascism and Nazism

The Nazis and Fascists appropriated Greco-Roman classical art for propaganda purposes, as they believed that the aesthetic and cultural values of the classical world were superior to those of modernity.

They sought to use classical art to reinforce the idea of a superior, dominant Aryan race and to promote their ideology of nationalism, imperialism, and authoritarianism.

The Nazis, in particular, had a keen interest in appropriating classical art. They believed that the ancient Greeks and Romans were the ancestors of the Germanic people and that they embodied the ideal of physical and mental perfection. They used classical motifs and symbols, such as the swastika and the eagle, in their art and architecture to create a sense of continuity with the classical past.

One of the most famous examples of Nazi appropriation of classical art is the monumental architecture of Albert Speer, Hitler’s chief architect, who designed grandiose buildings inspired by the classical temples and palaces of ancient Greece and Rome.

The Nazis also stole countless works of classical art from across Europe during their campaigns of conquest, often using these works to decorate their offices and homes.

Fascist regimes in Italy and Spain also appropriated classical art as a means of reinforcing their ideologies of nationalism and authoritarianism. In Italy, Mussolini’s government commissioned new public works of art that emulated the style of classical antiquity, such as the Piazza Augusto Imperatore in Rome.

In Spain, Franco’s government used classical motifs and symbols in their propaganda, such as the double-headed eagle, which was used as the emblem of the Spanish State.

A Fascist Style that Imitates Imperial Rome

Under the rule of Benito Mussolini in Italy from 1922 to 1943, a form of architecture known as Rationalism became popular among Fascists. During this time, Mussolini transformed the role of the Italian executive from that of a prime minister to a dictatorship, and was nicknamed Il Duce (the leader).

Mussolini aimed to replace democracy with fascism and idealism in Italy, and used various forms of media and architectural identity to achieve this. The modernist style of architecture was one way to help build his vision of a unified fascist Italy.

Architects were called upon to use the fascist style of architecture to imitate the grandeur of imperial Rome and instill a sense of pride and nationalism among the Italian people. This cultural rebirth was just one of many ways in which Mussolini sought to mark a new era of Italian culture under fascism.

Hitler’s usage of Stripped Classicism to unify and nationalize Germany

After Hitler’s rise to power in 1933 and the transformation of the German Chancellery into a dictatorship, he utilized Stripped Classicism as a form of fascist architecture to help consolidate and centralize his control over Germany. Hitler had grand plans to reconstruct Berlin under the name Germania or Welthauptstadt Germania, in the event that the axis powers won World War II. To realize this ambitious project, Hitler enlisted his preferred architect, Albert Speer, to design the new capital city using fascist architectural principles.

What is Stripped Classicism?

Stripped Classicism is a form of architectural style that emerged in the 1920s and gained popularity during the fascist era of the 1930s and 1940s. It is a blend of neoclassicism and modernism, characterized by classical proportions and forms stripped of decorative details, resulting in a simpler and more austere appearance. The style is often associated with authoritarian regimes, particularly those of fascist Italy and Nazi Germany, and was used to evoke a sense of power, order, and grandeur in public buildings and monuments.

Examples of Stripped Classicism include the monumental buildings constructed in Nazi Germany, such as the Zeppelintribüne in Nuremberg and the Reich Chancellery in Berlin, as well as the EUR district in Rome, built during Mussolini’s regime.

Fascist architecture were inspired by styles from imperial Rome

Fascist architecture drew inspiration from Ancient Rome, incorporating large, symmetrical buildings with sharp edges that conveyed a sense of awe and intimidation.

The materials used were chosen for their durability, as the buildings were intended to last throughout the fascist era and become impressive ruins.

Decoration was minimal or nonexistent, resulting in a plain and straightforward design. These characteristics contributed to the simplistic aesthetic of fascist architecture, which served as another tool of propaganda for Hitler and Mussolini to showcase the strength, pride, and power of their regimes to the world.

Ultimately, fascist architecture reinforced the concept of absolute and total rule over the population.

Simplicity and symmetry in art to unify the citizens of fascist countries

The Nazis had a very ambitious vision for European culture – a culture that would devoid of all elements of cosmopolitanism. Traces of this was seen in November, 1937 when Herman Goering (1893-1946) opened an exhibition of Italian art in Berlin. A leading figure in the Nazi Party, Herman Goering was known for his flamboyant lifestyle, love of art, and extravagant taste.

To those fascist countries, cultural questions were very dear to the political and economic spheres of the society. This explains why Nazi chief propaganda officer Joseph Goebbels (1897-1945) desired nothing than to make Germany supreme in the cultural world. The Nazi politician, who was a fierce anti-Semite, deployed arts in ways that shaped the message and image of the Nazi regime. Cultural organizations like the Permanent Council for International Cooperation, the Union of National Writers, and the International Film Chamber were used to cultural policies and steer the rest of Europe to a new moral vision.

The Nazi-fascist establishments in those countries believed that cultural questions could help in the establishment of a new political order across Europe.

What made good art in Nazi Germany?

The Nazis had a very specific idea of what constituted “good art” and promoted a form of art that was in line with their ideology and propaganda. They believed that art should serve a political and social purpose, and that it should reflect the values and ideals of the Nazi regime.

According to the Nazis, “good art” was characterized by a number of elements, including:

1. Realism: The Nazis favored realistic depictions of people and landscapes, which they believed captured the essence of the German spirit and portrayed the idealized Aryan race.
2. Idealism: Nazi art emphasized idealized figures and heroic themes, which aimed to inspire and uplift the German people.
3. Classicism: The Nazis were inspired by the ancient Greeks and Romans and sought to create a modern Germanic version of classical art, which they believed represented the pinnacle of Western culture.
4. Propaganda: Art was seen as a powerful tool for propaganda and was often used to promote Nazi ideology and glorify the regime.
5. Conformity: Artists were expected to conform to Nazi ideology and create works that were consistent with the values and beliefs of the regime.

As a result, much of the art produced during the Nazi period was heavily stylized, propagandistic, and idealized. It often depicted heroic scenes of German military triumphs or idealized depictions of the Aryan race, and emphasized themes of strength, unity, and national pride. Artists who did not conform to these ideals were often marginalized or persecuted by the regime.

The goal of the Nazis was to create a single national tradition and racial integrity in art. This explains why Nazi patrons of arts were against international art, seeing it as a very degenerative force that promoted global cosmopolitanism.

Inspired by Greco-Roman ideals of art, the Nazi-fascist civilizational project believed that Europe could be spiritually reborn, and that required guarding off against American cultural values of consumerism, capitalism and liberal democracy, as well as revolutionary Bolshevism.

A good form of art to the Nazis prioritized spiritual rebirth and not materialistic; and they sought organic and traditional and not abstract and cosmopolitan. Those elements were seen as crucial by the Nazi regime in creating Hitler’s vision of very strong and racially pure states. Basically, a “good art” in Nazi Germany had no room for styles that transcended racial and ethnic differences.

Some scholars state that the reason why this style appealed to some artists in Europe was because many of those artists were looking for solutions to issues that emerged in the aftermath of World War I. There were some artists back then that believed that the Nazi regime could help with copyright protections, secure better royalties for artists, and create a very thriving European market for their works. After the turbulent period that followed WWI, those artists simply sought stability and reassurance.

The use of culture and arts to reinvigorate Europe

The Nazi-fascist civilizational project tried to make Berlin and Rome the centers of European culture, drawing attention away from cities such as London and Paris. Hitler was bent on making a culturally revived Germany the backbone of Europe.

Achieving this would require the Nazis to defend its culture. And once that nationalistic ideology had been created, the regime aimed to draw the rest of Europe into its cultural orbit, and by so doing, they would have completed the spiritual reinvigoration of Europe. This agenda came to the fore in April 1935 when the European film conference was held in Berlin. Similarly, Mussolini’s government sought to deploy the Venice Film Festival as a weapon to carry out the agenda.

Examples of Nazi-Fascist artworks that appropriated Greco-Roman Classical Art

During the Nazi regime in Germany, the government heavily controlled the arts to promote their nationalist and racist ideology. They promoted artworks that depicted heroic Aryan figures, glorified war and conquest, and demonized Jews, homosexuals, and other marginalized groups.

One of the most famous Nazi-Fascist artworks is the monumental sculpture called “The Triumph of the Will” by Leni Riefenstahl, which glorified Adolf Hitler and the Nazi party. Another example is the artwork of Arno Breker, who created heroic sculptures of muscular, idealized Aryan men and women.

In Italy, during the Fascist regime under Benito Mussolini, the government similarly promoted artwork that glorified the nation, its military might, and the Fascist party. Examples include the sculptures of Arturo Martini and the murals of Mario Sironi, which depicted idealized workers and soldiers.

It is important to note that many of these artworks were created under coercion or were heavily censored by the government. They represent a dark period in history, and their promotion should be viewed with caution and skepticism.

Did you know…?

• Located in the Espozizione Universale di Roma (EUR) district of Rome, the Palace of Italian Civilization is typical example of fascist architecture combined with Italian Rationalism.
• Legend has it that the Casa del Fascio’s design, which features six vertical and nine horizontal arches, is related to the number of letters in the name of the Italian dictator, Benito Mussolini.

The Palace of Italian Civilization – Palazzo della Civiltà Italiana

Also known as the “Square Colosseum”, the Palace of Italian Civilization is a building located in the EUR district of Rome, Italy. It was designed in 1937 by the architects Giovanni Guerrini, Ernesto Bruno La Padula and Mario Romano, and was commissioned by the Fascist government of Benito Mussolini.

The structure blends classical arches design (i.e. from the Roman Colosseum) and elements from the Bauhaus school. The Bauhaus School was a style that emerged post-World War I as a response to the increasing usage of technology that tended to make traditional craftsmanship too mechanized, “soulless”, and devoid of any great cultural value.

The building was meant to be a symbol of the power and modernity of Italy under Fascist rule. It was designed to host the Universal Exhibition, which was planned for 1942 but never took place due to the outbreak of World War II. The Palace of Italian Civilization is considered one of the most important examples of Rationalist architecture in Italy.

The building’s design is characterized by a monumental facade composed of travertine marble, with a series of arches that create a colonnade effect. The structure is nine stories high, and the top floor features a large terrace that offers panoramic views of the surrounding area. The interior of the building was designed to be used as exhibition space, and it includes a large central hall and a series of smaller rooms.

After the end of World War II, the building was used as a government office and later as a center for exhibitions and cultural events. Today, it houses several museums and galleries, including the Museum of Roman Civilization and the National Museum of Popular Arts and Traditions. The Palace of Italian Civilization is recognized as an important architectural landmark in Rome, and is a popular destination for visitors to the city.

The Casa del Fascio

The Casa del Fascio, also known as the Palazzo del Littorio, is a modernist building in the city of Como, Italy. It was built between 1932 and 1936 as the headquarters for the local branch of the National Fascist Party during the period of Fascist rule in Italy.

The building was designed by the Italian architect Giuseppe Terragni, who was a leading figure in the Italian Rationalist movement. The design of the building was intended to express the values of Fascist ideology through its modernist form and austere materials.

The Casa del Fascio is characterized by its clean, geometric lines and its use of simple materials such as white stucco, glass, and steel. The building is arranged around a central courtyard, which is overlooked by a series of terraces and balconies.

Inside, the building features a series of offices and meeting rooms, as well as a large assembly hall for political rallies and events. The interior is decorated with murals and sculptures that celebrate the achievements of Fascist Italy and the leadership of Benito Mussolini.

Today, the Casa del Fascio is no longer used as the headquarters of the National Fascist Party, but it remains an important example of Italian Rationalist architecture and a symbol of the political and cultural history of Italy during the Fascist period.

Kongresshalle in Nuremberg – i.e. the Nuremberg Congress Hall

The Nuremberg Congress Hall, also known as the “Kongresshalle,” is a large building located in Nuremberg, Germany. It was designed by architect Albert Speer and was built between 1935 and 1939 by the Nazi regime under the direction of Adolf Hitler.

The building was intended to be the centerpiece of the Nazi Party’s propaganda events, including the annual party congresses, and was designed to hold up to 50,000 people. The building’s design is characterized by its massive size and its classical architecture, which was meant to evoke the power and grandeur of the Roman Empire.

The main hall of the building is a large circular space that measures 90 meters in diameter and features a domed ceiling that rises 70 meters above the floor. The hall was designed to be used for rallies, speeches, and other events, and was equipped with state-of-the-art technology for the time, including a sound system and lighting equipment.

After World War II, the building was used by the US Army as a storage facility, and later by the city of Nuremberg as a venue for concerts and other cultural events. In the 1990s, the building was extensively renovated and turned into a museum called the Documentation Center Nazi Party Rally Grounds, which explores the history of the Nazi regime and its impact on the city of Nuremberg.

Today, the Nuremberg Congress Hall is recognized as a prime example of Nazi architecture and is a popular destination for visitors to the city. While it is a controversial symbol of a dark period in German history, it is also recognized as an important site for remembering and understanding the past.

The Deutches Stadion

The Deutsches Stadion was a proposed sports complex and stadium that was intended to be built in Nuremberg, Germany during the Nazi era. The project was initiated by Adolf Hitler and was intended to serve as a symbol of Nazi power and the supposed superiority of the Aryan race.

The Deutsches Stadion was designed by the architect Albert Speer, who was a close associate of Hitler and one of the most prominent architects of the Nazi era. The complex was to include a massive stadium that could accommodate over 400,000 spectators, as well as facilities for other sports and recreational activities.

The stadium was designed to be an enormous structure that would dominate the Nuremberg skyline, with a roof that would span over 1,000 feet and be supported by massive concrete columns. The seating area would have been arranged in a series of concentric circles, with the innermost section reserved for VIPs and other dignitaries.

Construction on the Deutsches Stadion began in 1937, but was halted in 1939 due to the outbreak of World War II. Despite the massive scale of the project, only a small portion of the stadium was ever completed, and much of the site was later used as a military training ground by the German army.

Today, the site of the Deutsches Stadion is largely abandoned and overgrown, although some of the concrete columns and other remnants of the stadium can still be seen. The project remains a symbol of the grandiose ambitions and megalomania of the Nazi regime, and a reminder of the devastating impact of totalitarianism on both architecture and society.

The Foro Mussolini

The Foro Mussolini, also known as the Foro Italico, is a large sports complex located in Rome, Italy. It was built between 1928 and 1938 during the Fascist regime of Benito Mussolini, and was designed to promote the ideology of Italian nationalism and physical fitness.

The complex was designed by architects Enrico Del Debbio and Luigi Moretti, and was originally called the Foro Italico. It was meant to host the 1942 Universal Exhibition, which was cancelled due to the outbreak of World War II.

The Foro Mussolini includes several sports facilities, including a large stadium, a swimming pool, tennis courts, and a gymnasium. The centerpiece of the complex is the Stadio dei Marmi, a stadium that can hold up to 20,000 people and is surrounded by 59 statues of male athletes.

The complex also features several other sculptures and artworks that were commissioned by the Fascist government, including a statue of Mussolini on horseback by sculptor Emilio Greco, and a large fountain called the Fontana dell’Acqua Paola.

After the end of World War II, the complex was renamed the Foro Italico, and was used for a variety of sporting events, including the 1960 Summer Olympics. Today, it remains an important sports venue in Rome, and is also a popular tourist destination for visitors interested in the history of Fascist Italy.

While the Foro Mussolini is an important example of the architecture and art of the Fascist regime, it is also a controversial symbol of a dark period in Italian history. Its original name, Foro Mussolini, was changed to Foro Italico in an attempt to distance the complex from its association with Mussolini and the Fascist regime.

1936 Summer Olympic Games in Berlin, Germany

Unbeknownst to many people, much of what is often associated with the Olympic Games today in fact began during the infamous Berlin Olympic Games of 1936. For example, the Olympic flame relay torch procession, which was the idea of Jewish archeologist Alfred Wilhelm Schiff who died in 1939, made its debut at that particular event. The idea was implemented by Carl Diem, the secretary general of the Organizing Committee for the Games, as a way to symbolize the link between ancient and modern Olympics.

The sporting event was a perfect opportunity for Nazi Germany to show the world its admiration of Greco-Roman classical art. The event also ended up being a Nazi-engineered propaganda tool. Torchbearer was even later adopted as a symbol of the Nazi party. Clearly, Nazi Germany was trying to portray themselves the modern successors to the Greco-Roman world.

Did you know…?

 

Reasons why these countries and individuals boycotted the 1936 Berlin Olympics