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Bisanzio negli anni trenta del Novecento: il palazzo di Giustizia di Milano

digital Bisanzio negli anni trenta del Novecento: il palazzo di Giustizia di Milano
Articolo
rivista ARTE LOMBARDA
fascicolo ARTE LOMBARDA - 2017 - 1-2
titolo Bisanzio negli anni trenta del Novecento: il palazzo di Giustizia di Milano
autore
editore Vita e Pensiero
formato Articolo | Pdf
online da 11-2017
issn 0004-3443 (stampa)
€ 6,00

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Twentieth-century European avant-garde looked upon Byzantine art for inspiration, as they refused the neo-classic academic painting. Instead, Italian artists grew a deep aversion against Byzantium, as it appeared as the decadent civilization opposite to the classical Rome. All the same, the Fascist regime considered the Rome as its model. After Fascism had received a worldwide legitimation in the 1930s, such an attitude changed radically. The Italian artists accepted Byzantine art as a part of their own tradition; Ravenna was taken as the substitute of Byzantium in Italy. The novel love for Byzantine art is mirrored in the so-called «Muralismo», a movement Sironi, Carrà and others founded. Sironi mosaics and the more than one hundred works inside the Palace of Justice in Milan are the best examples of that acceptance of the Middle Ages in all its trends: inside the building, the article focuses on Martini’s bas-reliefs La Giustizia fascista and Severini’s and Santagata’s mosaics representing the codes and legislators of the past.

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