Abstract
The opening of the Venice Biennale in 1895 provided an unprecedented occasion to bring international art to the Italian public. It thus enabled intellectuals, art critics and the wider public to see and judge national productions side by side. This paper proposes to look at the way biases developed along with the Biennale – in relation to the peculiar political situation in Europe. By looking at articles written by leading Italian art critics on newspapers and magazines such as Emporium, Fanfulla della Domenica, Il Marzocco or Illustrazione italiana, the paper will show that art often served as a pretext for a political analysis which ultimately pointed to the rising conflict between the Triple Alliance and the Triple Entente.
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