Culture, the Victim of Fascism

In her 1937 painting titled Saint Culture, Martyr of Fascism, Ángela Nebot depicted a schoolteacher in the classroom after having been brutally assaulted. In doing so, she denounced the persecution faced by teachers at the hands of the rebels, while also drawing attention to their assault one of the issues most important to the Spanish government: culture.

From its proclamation in April 1931, the Second Republic made culture one of its flagship activities and invested great efforts in improving the education of Spaniards. When the war broke out, one of its key propaganda strategies was the staunch defense of culture as a fundamental right and a means to achieve freedom. Under that premise, it launched a number of admirable initiatives, such as the Culture Militias (the corps of teachers tasked with teaching soldiers in the Spanish Army to read and write), and the celebrated rescue of the country’s historical and artistic heritage.

Of course, Republican propaganda made sure to highlight its work in promoting culture and education. Posters proliferated showcasing the impressive literacy rates achieved among combatants, the creation of libraries and institutes for workers, as well as others promoting liberal and equal education for boys and girls—thus reinforcing the Republic’s major cultural initiatives.

 But there was also no shortage of images, like the one painted by Nebot, that exposed the fascists’ contempt for culture, placing them directly in the crosshairs. In fact, the theme Nebot chose for her painting—culture as a victim of fascism—was a central slogan among Republicans, as it already was in the broader international anti-fascist context. In these kinds of works, indiscriminate attacks on culture—whether embodied by a schoolteacher, represented through monumental ruins, or symbolized by a simple book—took center stage. It was also common to depict the aggressor directly, presenting them as a collective of barbaric, uncivilized, and foolish figures, sometimes portrayed as grotesque creatures. In all cases, these powerful images equated fascism with ignorance.

IEG