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Leonardo. La pittura by Carlo Pedretti PDF

By Carlo Pedretti

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These plaques and monuments inspired feelings of guilt and sometimes trauma, but also were the source of pride and belonging (to the Fatherland, to the community, to the army, to a “glorious past”). They thus transmitted many messages, which were intimately linked to the subjective experience of the war. This was also true of the hundreds of thousands of spontaneous memorials created on the battlefields themselves, during the war. Often, memorials linked to the soldiers’ associations were far less heroic and “active” than those created directly by fascism.

And await calmly the final victory of the working class Today, we might call such an inscription an antimonument, with its criticism of other forms of commemoration (as the “fiction of posthumous tears”) and its positive message of the final victory of the working class. These inscriptions were not designed for mourning, but were calls to action. ” Antimilitarist interpretations of the conflict included—in this category—not just those who died on the battlefields, but also those who were victims of military justice and of the army itself.

If the war was seen as a disaster, then all of its victims needed to be remembered. But if the conflict was interpreted as a triumph, only the “glorious dead” were worthy of mention. The left extended the war experience way beyond the battlefield, while the nationalists and fascists confined that experience to the trenches. Sometimes, different political groups held separate ceremonies around the same monuments. Socialists or members of the Proletarian League occasionally complained that the names of “their dead” were included on patriotic monuments, and threatened to remove them.

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Leonardo. La pittura by Carlo Pedretti


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