This essay aims to analyse the ways in which the myth of the Mare nostrum entered into the artistic iconography of the early twentieth century. It was highly amplified during the Fascist regime thanks to some relevant graphic works, monumental commissions and, above all, temporary exhibitions that were characterized by a propagandistic overtone. The representation of a Mediterranean (in fact Italian) common identity became a fundamental part of a pervasive political strategy. The stylistic choices were conditioned both by the need to emphasize the glorious return of “Latinness” and the incardination of the “new” fascist modernity.



To view the content in your browser, please download Adobe Reader or, alternately,
you may Download the file to your hard drive.

NOTE: The latest versions of Adobe Reader do not support viewing PDF files within Firefox on Mac OS and if you are using a modern (Intel) Mac, there is no official plugin for viewing PDF files within the browser window.