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Irredentist lithograph by Alberto Martini depicting an ethereal personification of Italy as she stands triumphantly over the Austro-Hungarian Empire. Austria-Hungary is represented by a beastly reptilian interpretation of Emperor Franz-Joseph,, seen claiming rightfully Italian lands for himself.
Propaganda poster issued by the Federazione dei Fasci di Combattimento. Text reads: “Duce, The Living and the Dead Greet You With the Cry of the Vigil“
One of the most iconic posters of the Second World War, an election poster depicting the Führer and a famous Nazi slogan. Refers to the unshakable solidarity of Germany through blood, soil and the Führer.
Poster from occupied France calling on all Europeans to defend their civilization from Russian Bolshevism by fighting alongside the Germans on the Eastern Front. The Greek goddess of warfare, Athena, is employed as a unifying icon of a shared European heritage.
Poster promoting the Mostra della Rivoluzione Fascista (Exhibition of the Fascist Revolution), which was an art exhibition intended to commemorate the revolutionaries who had taken part in the rise to power of Fascism. Fascism has been closely linked to avant-garde artistic movements such as Futurism. As reflected in its ideological doctrine, Italian Fascism was much more open towards new ideas and lacked the counterproductive fixation on stylistic purity and traditionalist realism that defined the Nazi aesthetic.
Poster promoting the Mostra della Rivoluzione Fascista (Exhibition of the Fascist Revolution), an art exhibition intended to commemorate the fascist revolutionaries who partook in the rise of Fascism in Italy. This example highlights the exhibition’s opening on the 10th anniversary of the March on Rome. Italian Fascism was closely linked to avant-garde artistic movements such as Futurism, and as reflected in its ideological doctrine, its art embraced modern ideas and lacked the counterproductive fixation on stylistic purity and traditionalist realism that defined Nazi art.
Poster addressing Flemings to join the ranks of the Germanic SS, collectively referring to SS organizations in Belgium, Denmark, the Netherlands and Norway, whose inhabitants were considered pureblooded aryans like the Germans themselves.
Poster for a Flemish-German cultural exchange held in Ghent. The famous Gravensteen can be seen forming the backdrop.
Poster from the Vlaamsch Nationaal Verbond (Flemish National League, VNV).
The Légion des volontaires français (LVF) was a collaborationist unit composed of Frenchmen who fought to defend Europe against Bolshevism. It was later redesignated as the Waffen-SS ‘Charlemagne’ Brigade, named after the legendary medieval Frankish King Charlemagne. The LVF originated as an independent initiative by a coalition of far-right factions in Vichy France who were disillusioned with the liberalism of the Third Republic. The Legion’s flagpole top seen here is a winged helmet of ancient Gaul, and alongside the unit’s later identification with the legend of Charlemagne, we see the clear and distinct influence of romantic historicism and French national mythology. The Waffen-SS ‘Charlemagne’ Brigade distinguished itself in the Battle of Berlin in 1945, where it remained as one of the last defenders around Hitler’s Führerbunker.
Tourism poster promoting Germany’s new developments in architecture. Fascist architectural design took inspiration from Ancient Rome and was intended to serve as awe-inspiring references to the great classical world as well as an expression of the regime’s infallible might. Through its synthesis of modernism and classicism, the style sought to articulate a powerful political ethos oriented towards the future yet equally grounded in tradition.
Architecture played a central role in Hitler’s desires to awaken a new national consciousness through reinvigorating German culture. Architectural projects were centered around the cultural life of its citizens, drawing from the Hellenic tradition of the polis as the site of a beautiful or good life. In the Gesamtkunstwerk (total work of art) that is the fascist nation-state, its citizens are not only never far from their spiritual tradition as expressed through architecture, but constitute a part of it.
Poster by Ottomar Anton depicting the Hindenburg crossing the Atlantic, cleverly juxtaposed with an archaic merchant vessel to emphasize the speed of the new airship.