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Youth, Art, and Fascism

Writer's picture: Ryan markelovRyan markelov

“Hitler Takes Another Leaf from Mussolini Book: Boy Nazis,” Digital Public Library of America, https://dp.la/item/5125d0b5fb4718b942fb1d0604522889.

 

 In Mussolini's time, fascism was a fundamentally new ideology that brought promise of sweeping change and a revitalization of the Italian identity after years of turmoil. Leading up to Mussolini's March on Rome in 1922 and his 18 years of brutal dictatorship, Italy felt like it was a mutilated country. After their fight against the central powers in World War l, they were only handed limited land and not nearly what they were promised when they entered the war. Italians referred to this as a "mutilated victory". During the war, inflation was out of control. Prices rose by 400%, and even after the war, real wages of workers had dropped by 25%. A crippling currency accompanied by high unemployment left the Italian people with a demand for change that was used by extremists as promises of a revitalized future: a future that the youth would be able to prosper in. 


The twentieth century will be the century of fascism, it will be the century of Italian power, it will be the century in which Italy for the third time will return to being the guide for human civilization, because beyond our principles there is no salvation for individuals or for peoples'. - Mussolini

Futurist example by Gerardo Dottori, via https://www.pittoriliguri.info/pittori-liguri/dottori-gerardo/

What followed and helped dictate the need for change can be seen in the flourishing Italian art style at the time,  Futurism. Starting off as a rebellious movement against old cultural ties and conservatism, the style quickly grew as one that praised technology and the "machine age". This style reflected the rapidly industrializing regions of northern Italy in their departure from more traditional values towards fascist values. It often worshiped the youth building a new country through industry and the glory of war machines. Most of the members of the movement were fanatical fascist and the radical ideas that were being put forth were fundamental in Mussolini's regime. This movement was not only for paintings, but also applied to posters, movies, and architecture. It was perfect for grabbing the youth's attention and support. It was not only a projection of what the Italian youth wanted, but it additionally reaffirmed that the fascist party was the mechanism to achieve that future. Sometimes the line between art and propaganda was too blurry. 



Another Dottori painting that glorified Mussolini, via https://www.pittoriliguri.info/pittori-liguri/dottori-gerardo/

Nazi Germany had an almost polar opposite approach; rather than looking forward, they looked back. After being the losers of World War l, Germans had to bear the complete responsibility of the devastation and loss of the war. With that came a great national shame. Young people who didn't have a role to play in World War l not only had to bear the spirit of the defeated, but also economic hardship. The new democracy was hit with an inflation crisis and uncontrollable unemployment; there was nothing to be prideful of. Even after the war, Germans faced occupation and exploitation from the French that compiled onto the shame. After defaulting on coal deliveries in 1923 the French invaded the Ruhr with 100,000 troops, and fundamentally ransacked the whole region for all of its resources until the government continued the deliveries again. 


To find a sort of national spirit the Nazi party looked back on German history, during the times of the German Empire and Holy Roman Empire. The party completely rejected the image of modernity: it was something degenerate and it was damaging German society. According to them, the reason behind Germany's economic shortcomings and weakened global status was due to the adoption of democratic-liberal ideals of modernity.


Working Maidens by Leopold Schmutzler, via https://www.facinghistory.org/resource-library/art-politics

The past offered Germans a time when Germany was more respected, and it worked. The Nazis latched on to the revitalization of the past, by showcasing modernized works in neoclassical and romanticism styles. These often accentuated "ideal" Germans living in bliss or triumphing over their enemies. It gave young people a German identity that promised a return to what "glory" Germany once had, and it helped garnish their support. The average age of Nazi party membership was just under 29, the youngest in the Bundestag before the party take-over. 


“Hitler at the Front,” by Emil Scheibe

 The youth's attraction to fanaticism in history often comes from a neglect by society and government. In both countries young people were facing a bleak future with little economic stability or opportunity, additionally they were left out of the fundamental values of the country. The early medians that would address these problems and attract the youth came from fanatic artists that represented the values of fascist parties. These art movements are not tools of the fascists; rather, they are the by-product of the disparity of the youth and country. Nowadays, it feels like the youth is increasingly being neglected from politics and the economy. With a ballooning housing market, increasingly competitive job markets, high inflation, and stagnant wages, it's important for governments not to forget about the future of their nations and the impact that neglecting the youth can have.


 

Sources Used:


Casden, Emily. “Italian Futurism: An Introduction.” Smarthistory Italian Futurism An Introduction Comments, smarthistory.org/italian-futurism-an-introduction/. Accessed 24 July 2024.


Heskett, John. “Art and Design in Nazi Germany.” History Workshop, no. 6, 1978, pp. 139–53. JSTOR, http://www.jstor.org/stable/4288196. Accessed 25 July 2024.


Geary , Dick. “Who Voted Nazi?” GCSE Modern World History, History Today, Oct. 1998, www.johndclare.net/Weimar6_Geary.htm.


Ledeen, Michael A. “Italian Fascism and Youth.” Journal of Contemporary History, vol. 4, no. 3, 1969, pp. 137–54. JSTOR, http://www.jstor.org/stable/259736. Accessed 24 July 2024.


Todd, Allan, et al. European States in the Interwar Years (1918-1939). 2nd ed., Cambridge University Press, 2016.


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