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In postwar Germany, the Allies and the German authorities moved quickly and systematically to destroy or physically remove all traces of Nazi art. No such process occurred in postwar Italy. This meant that hundreds of ideologically inspired statues, mosaics, murals and other artefacts survived into the republican period. This article uses Luigi Montanarini’s mural, the Apotheosis of Fascism, as a case study to examine the management, meaning and memory of fascist monumental art (and, more broadly, fascist monumental architecture) in postwar and contemporary Italy. To date, memory studies of fascism have largely overlooked the artistic and architectural legacies of the dictatorship. This article helps to address this historiographical lacuna and speaks to current debates and controversies in Italy surrounding the meaning and significance of historic fascism.


School of Arts

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Journal Article

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