{"id":5200,"date":"2020-02-15T17:51:12","date_gmt":"2020-02-15T16:51:12","guid":{"rendered":"https:\/\/palazzoducale.genova.it\/futurism-and-propaganda\/"},"modified":"2023-10-27T12:43:47","modified_gmt":"2023-10-27T10:43:47","slug":"futurism-and-propaganda","status":"publish","type":"post","link":"https:\/\/ww2.palazzoducale.genova.it\/en\/futurism-and-propaganda\/","title":{"rendered":"Futurism and Propaganda"},"content":{"rendered":"\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p>The main fascist iconographic motives interweave with the development of futurist research in the years straddling the two wars and in particular with the&nbsp;<strong>Thirties Manifesto of Aeropainting<\/strong>.<\/p>\n\n\n\n<p>While the fascist political strategy used classical models in order to emphasize its similarities regime with the Roman Empire, the works of the artists who belonged to the various branches of the movement called Second Futurism still headed by&nbsp;<strong>Filippo Tommaso Marinetti&nbsp;<\/strong>reflect the celebratory themes of an official art inspired by war-mongering inclinations and a widespread cult of the Duce\u2019s figure and personality. The painting by&nbsp;<strong>Ettore Thayaht<\/strong>,&nbsp;<strong>Il grande nocchiere (The Great Helmsman)&nbsp;<\/strong>1939, which depicts Mussolini as a great robot, is a revealing example of this tendency.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"239\" src=\"https:\/\/palazzoducale.genova.it\/wp-content\/uploads\/ilgrandenocchiere.gif\" alt=\"Ernesto (Michahelles) Thayaht, Il grande nocchiere, 1939\" class=\"wp-image-3721\"\/><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large is-style-default\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"211\" src=\"https:\/\/palazzoducale.genova.it\/wp-content\/uploads\/TrasfigurazionedelpilotaBalbo.gif\" alt=\"Enrico Prampolini, Aeroritratto simultaneo di Italo Balbo, 1940\" class=\"wp-image-3723\"\/><\/figure>\n<\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<div style=\"height:36px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/palazzoducale.genova.it\/en\/temathic-itineraries\/\" data-type=\"URL\" data-id=\"https:\/\/palazzoducale.genova.it\/en\/temathic-itineraries\/\" target=\"_blank\" rel=\"noreferrer noopener\">back<\/a><\/h4>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The main fascist iconographic motives interweave with the development of futurist research in the years straddling the two wars and in particular with the&nbsp;Thirties Manifesto of Aeropainting. While the fascist political strategy used classical models in order to emphasize its similarities regime with the Roman Empire, the works of the artists who belonged to the &hellip; <a href=\"https:\/\/ww2.palazzoducale.genova.it\/en\/futurism-and-propaganda\/\">Continue<\/a><\/p>\n","protected":false},"author":2,"featured_media":86220,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[30],"tags":[],"class_list":["post-5200","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-wolfsoniana-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/posts\/5200"}],"collection":[{"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/comments?post=5200"}],"version-history":[{"count":1,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/posts\/5200\/revisions"}],"predecessor-version":[{"id":92269,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/posts\/5200\/revisions\/92269"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/media\/86220"}],"wp:attachment":[{"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/media?parent=5200"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/categories?post=5200"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ww2.palazzoducale.genova.it\/en\/wp-json\/wp\/v2\/tags?post=5200"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}