The destiny of the art and artefacts
in The cult of the Duce
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter examines the two aspects of the destiny of the art depicting Benito Mussolini. It explores post-war exhibitions featuring the work of artists, many associated with Futurism. The chapter describes the long-range influence of the Profilo continuo del DUCE by the Tuscan sculptor Renato Bertelli. It shows the chronology of resurgence of interest in Fascist art and images of the Duce. While many busts, paintings and other artefacts were destroyed or stolen in the turbulent period between 1943 and 1945, others were simply consigned to deposits or private collections. The appropriation by contemporary artists and designers of iconic images of Mussolini in a new context, are important in understanding the political and cultural obstacles to an open discussion of Fascism and its legacy on Italian art and culture. In the new millennium it seems acceptable to display images of Mussolini and the arts and artists of the regime.

The cult of the Duce

Mussolini and the Italians



All Time Past Year Past 30 Days
Abstract Views 74 38 0
Full Text Views 27 9 0
PDF Downloads 31 17 0