Xanti Schawinsky and the Fascist Plebiscitary Elections of 1934: Everyday Design Practice and Visual Culture in Early 1930's Italy

With Hitler's seizure of power in 1933, the Bauhausler Xanti Schawinsky sought refuge in fascist Italy until the uncertain political situation and a career choice prompted him to move to the United States in 1936. Identified as the link between Italy and the Bauhaus, Schawinsky holds a special place in the history of Italian graphic design. However, his key role as promoter of modernism has not been subjected to scrutiny by looking at the work he did, networks he established, and design exchange he fostered. Schawinsky's propaganda poster for the plebiscitary elections of 1934 is the focus of this article. Drawing on photographic documents and primary sources-including correspondences, archival documents, and autobiographic accounts-we seek to clarify the circumstances under which someone fleeing Nazi Germany eventually designed works that served as vehicles for fascist propaganda. To this end, we ground the poster 1934-XII SI within the larger sociocultural and professional context, historical and political circumstances of early 1930's Italy. We pair close visual analysis with a contextualized understanding to employ the poster as a case study to explore how fascist ideology was ingrained in everyday practice and show how the line between political and commercial discourses was blurred.

Automated summary

This article explores the special position of Xanti Schawinsky as a promoter of modernism in Italian graphic design history and examines his propaganda poster for the plebiscitary elections of 1934. It reveals how fascist ideology was integrated into everyday practice and the blurred line between political and commercial discourses.