Author: Anissa Patel

In a nutshell, fascism is the political form of government which is most closely tied to the infamous Italian dictator, Benito Mussolini whose reign stretched during WWII. It is believed that the word for this type of government is derived from the Latin word Fasces, which means “unit”. In ancient Rome, Fasces was most closely related to the idea of an axe surrounded by rods. The symbolism of the unity and power behind Fasces is an ideology that can be seen throughout a multitude of ancient and contemporary Italian media. In Gaetano Prevati’s Chariot of the Sun, these references can be identified within various motifs within his piece.

Of course, as all totalitarian rulers do, art is exclusively used in its various and specific forms of style and imagery as a tool to express ideas of absolute power. This piece by Prevati is a perfect example of this, demonstrating not only the literal imagery of power and control, but also using mythology in order to emphasize a divine characteristic and the “necessity” of absolute power. A direct reference to the myth of Helios can be found in this painting, specifically through the use of the image of the chariots and the use of golden color in order to highlight a sun like quality to the piece. Through this, the major theme that can be seen is the correlation between unity and power; while one wields the reign, the group is able to glide forward through the total control of one individual. Summing the very essence of the ideology that drives the purpose of fascism.

Similarly, Elasticity by Umberto Boccioni possesses similar elements to Chariot of the Sun. Through using cubist form, Boccioni creates a variety of shapes and patterns that also reference the sense of unity and power. Similarly, to a Rorschach test, every individual is able to conceptually pick out a unique feature from this painting. For me, I immediately recognized patterns that could be related to images of sails on ship as well as images of what appears to be laborers working on a field. Regardless of what image one picks out from the entire piece, there is one common theme laced throughout; that everything within the painting is strictly controlled. Everything within the piece is incredibly similar, only deviating between the use of lines and color throughout. In terms of unity, the coherence of color and shape are a direct reference to this regardless of individualistic forms. In turn, this directly creates the reference to power; everything within the image is strictly controlled through its boundaries of lines and curves.

One of the first things one notices when arriving in a new destination is the stylization of the architecture within the city. Geographical similarities within Milan is abundant, and this is a fact that is can be seen as soon as one first steps foot into one of the many districts within Milan. For me, what seemed to stand out the most within the architecture within Milan was how many of the apartment complex’s share three dominant characteristics; quaint, close-knit, and colorful buildings can be found on nearly every street and corner. More specifically, what is most notable about these buildings is that fact that although they may appear to be synonymous in their makeup, they each possess unique traits that define their individuality. This is something I noticed as soon as I entered my apartment within the city.
From my building, I have an incredible view of a bright red toned apartment that can be seen across from my room. I spent a few minutes analyzing its features in comparison to other buildings I saw upon my arrival. Although one may carry the notion that these apartments may look incredible pre-planned and fixed, further analysis shows definite evidence that each building carries unique features that solidify their individuality. For instance, the building across my apartment is notably plain in contrast to a few others on my street. This building is designed with plain windows (consisting of a modest white frame), simple lines, as well as quaint details such as lighting fixtures. However, what makes this building stand out is its rich, red toned surface that catches the eye. While a building may appear the be deceivingly rich in its appearance, this is merely a mirage that occurs due to specific color choice. Incredibly simple buildings can be transformed through the use of paint.
This is a theme that can be seen in a variety of other structures within Milan as well. On a tangent, something that is also notable is the use of iconic or more notable buildings in order to draw attention to less prevailing structures. I was most aware of this in the district around Duomo, where a variety of shops and quaint stalls can be seen throughout the area. All of these stores were greatly enhanced in structure and presentation due to the fact that they were all adjacent to the most iconic structure within Milan. Ironically enough, in comparison to the similar buildings that can be seen throughout Milan, the Duomo is the most unique in its style and construction. The Duomo’s own institution of individuality against the identical features within the city testifies the capability of uniqueness to prevail in popularity regardless of the style that may appear to be commonplace.