Imperium Gallery

 We are a non-profit historical art museum dedicated to the study of modern nationalism and the preservation of its cultural artifacts. Through the medium of art, we hope to educate our patrons on the history and philosophy behind early 20th century revolutionary nationalism.

Fascism can be understood as the natural evolution of romantic nationalism, identifying and embracing the unique cultural characteristics responsible for bestowing a nation with its sense of identity. The ideology of Fascism is not only malleable, but fundamentally adaptive, taking on nation-specific forms rather than being a universally applicable and generic political theory. Whether it be traditional Italian Fascism, German National Socialism or Japanese State Shintoism, each nation’s idiosyncratic conception of Fascism is advised by their respective indigenous belief systems, folklore and history to be in consonance with the local polity and to invigorate these cultural traits. Reflecting this ethos, ethnospecific symbolism feature prominently in the Fascist aesthetic. Distilled of the perceived decadent impurities of postmodernism, its art offers an unclouded view into a nation’s soul and the spiritual essence of its people.

www.imperiumgallery.com

Germania

 

Spring 1943. 

A selection of portraits of soldiers of the 9th SS Panzer Division "Germania"  

made by Ernst Baumann

The Funeral of Shelley

"The Funeral of Shelley" by Louis Édouard Fournier (1889)

 Walker Art Gallery, Liverpool, United Kingdom

The Story Behind the Artwork

This 1889 painting by Louis Édouard Fournier captures the dramatic moment of Percy Bysshe Shelley’s cremation on the Italian coast. Shelley, one of the great Romantic poets, tragically drowned at the age of 29 when his schooner, the Don Juan, sank during a storm in 1822. His remains washed ashore near Viareggio, Italy, where quarantine laws dictated that his body be cremated.

The scene is not historically accurate but is rich with symbolism. Lord Byron, Mary Shelley (Shelley's wife), and Leigh Hunt are depicted mourning, though records indicate Mary Shelley was not present. Fournier paints the desolate beach and pyre as a solemn tribute to Shelley’s Romantic ideals—emphasizing his life as fleeting but profoundly beautiful, like the poetry he left behind.

Source: Stories Behind Art

The Voice of Truth - Proud and Indomitable!

URSULA HAVERBECK

 8/11/1928 - 20/11/2024

Words as Lightnings

 

“How can you be a shining beacon, if the fire does not burn within you!"

"We can only make of ourselves what God has put in us."

"Forming a people out of the masses and a state out of the people has always been the deepest meaning of true politics"

“The revolutionary type of man stands at the beginning of an upheaval, not some social emergency. That comes with it."

“God helps the brave and beats the coward. It would be a strange God that stood on the side of the coward."

“Every man of stature has a mission somewhere, sometime”

“We are all sick. Only fighting the rot can save us once more”

“The gradually collapsing state of history in its downfall once again produces the finest blossoms of its dying creative power.”

Taken from:

JOSEPH GOEBBELS - Michael : A German Destiny in Diary Form

The Timeless Art of Hellas

 

The sculptural adornment of the Temple of Aphaia marks precisely the boundary between two important periods in Greek art. The west pediment is still late archaic, whereas the east pediment is early classical. The temple is a Doric, peripteral hexastyle with twelve columns on the flanks. The two-sloped roof had terracotta roof tiles of the Corinthian type and a single row of marble tiles with palmette-shaped antefixes along the edges. The central, palmette-shaped acroterion, which was framed by two korai, and the four sphinxes on the corners of the roof were also of marble. The pedimental sculptures and the roof acroteria were of Parian marble and painted. The pediments depicted two mythical combats before Troy in the presence of Athena; heroes from Aegina participated in both. The temple remained visible and imposing for many centuries after its abandonment. The architect C. R. Cocherell and his friend baron von Hallerstein explored the site in 1811 and removed the pedimental sculptures to Italy. In 1928 the sculptures were taken to Munich, where they remain.

Source: diazoma.gr

SEE ALSO : 

The Dying Warrior and The Fallen Comrades

A Faraway Image of Youth

 

“Was my childhood sad for some particular reason? The fact, for instance, that I grew up amid great solitude? Lonely fields, a solitary manor in their midst... In winter, a boundless snowy sea; in summer, a sea of grainfields, grass, and flowers. And the eternal quietude of those fields ... I knew all that, even then. The depth of the summer evening sky, the melancholy vista of the fields betokened something else that seemed to exist apart from them, called forth a dream and a yearning after something I lacked, moved me with an incomprehensible love and tenderness, I knew not for whom or for what...”

IVAN BUNIN - The Life of Arseniev