Defense and Preservation of Historical-Artistic Heritage

As a “total war”, the Civil War posed a great threat to the nation's valuable historical and artistic heritage. The use of highly destructive weapons and targeted attacks on non-military objectives endangered the integrity of monuments and artworks of significant historical and cultural value. Additionally, as is common in armed conflicts, looting and plundering depleted certain collections. This was further exacerbated by the iconoclastic fervor, particularly among some libertarian groups, which led to the destruction of religious artworks and the confiscation of aristocratic properties.

Faced with these threats, on 23 July 1936, the Republican government's Ministry of Public Instruction and Fine Arts established the Board for the Confiscation and Protection of Artistic Heritage to safeguard cultural assets from deterioration and destruction. Organized into various sub-committees, this institution undertook the monumental task, and successfully preserved numerous artistic treasures through its inventorying and collection efforts. This included the famous transfer of artworks from the Prado Museum to the Torres de Serranos in Valencia and the Castle of Figueres, before being deposited them at the United Nations headquarters in Geneva. After the war ended, the artworks were returned to the victorious side.

Posters like the one shown were displayed in the major cities of Republican territory to raise awareness about the need to respect cultural heritage among the population and appeal for their collaboration, often emphasizing the artistic value of works with religious themes. This particular poster, which was displayed in Madrid, was created by members of the Fine Arts Student Union of the Student Federation (FUE). Additionally, the Central Board of Artistic Treasure published a series of pamphlets to publicize the salvage efforts, while the National Tourism Board issued others highlighting the threat the rebel offensives posed to art. For their part, the rebels reproduced photographs and illustrations, many of them produced by Republicans, depicting the desecration of sacred places and objects to portray the enemy as uncivilized.

The task of saving the treasure was, in any case, a collective success involving government organizations, as well as independent political groups and individuals who, aware of the value of the artistic heritage, were determined to protect it.

IEG