Continuous Profile of Mussolini
Profilo continuo del Duce (Continuous profile of the Duce) is an eye-catching rendition of Mussolini’s distinctive side profile continuing a full 360 degrees. Sculpted in 1933 by Futurist artist Renato Bertelli, it emphasizes the dynamism and movement that typified Futurist works of art. Futurism has been long associated with Fascism and shared many of its philosophical tenets, being thus endorsed to become the official state art of Fascist Italy. One of many Futurist political artworks concerning Mussolini’s cult of personality, it was approved as an official portrait by the Duce himself.
Unlike Adolf Hitler and the Nazi Party, who openly attacked modern architecture and art on both stylistic and racial grounds, Italian Fascism had been closely linked since its early inception to avant-garde artistic movements such as Futurism. Many of Italy’s most renowned artists and architects were ardent fascists who tried in every possible way to embody fascist values in their work. Italian Fascism, as reflected in its ideological doctrine, was much more open towards new ideas and lacked the artistically counterproductive fixation on stylistic purity and traditionalist realism that defined the Nazi aesthetic and which often times sapped an artwork of its creative vitality.
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Profilo continuo del Duce (Continuous profile of the Duce) is an eye-catching rendition of Mussolini’s distinctive side profile continuing a full 360 degrees. Sculpted in 1933 by Futurist artist Renato Bertelli, it emphasizes the dynamism and movement that typified Futurist works of art. Futurism has been long associated with Fascism and shared many of its philosophical tenets, being thus endorsed to become the official state art of Fascist Italy. One of many Futurist political artworks concerning Mussolini’s cult of personality, it was approved as an official portrait by the Duce himself.
Unlike Adolf Hitler and the Nazi Party, who openly attacked modern architecture and art on both stylistic and racial grounds, Italian Fascism had been closely linked since its early inception to avant-garde artistic movements such as Futurism. Many of Italy’s most renowned artists and architects were ardent fascists who tried in every possible way to embody fascist values in their work. Italian Fascism, as reflected in its ideological doctrine, was much more open towards new ideas and lacked the artistically counterproductive fixation on stylistic purity and traditionalist realism that defined the Nazi aesthetic and which often times sapped an artwork of its creative vitality.
