1935: Cultural Imperialism Under the Dollfuss-Schuschnigg Dictatorship

The regime created its political self-image using references to the Habsburg dynasty, presenting itself as its successor, and to the Catholic Church, which was a close ally. This new identity was intended to boost self-confidence in Austria, which was often seen as merely a “leftover” of the monarchy, and emphasise the country’s independence from Nazi Germany.

A sense of mission combined with ideas of superiority, strength and notions of conquest (cultural imperialism) were important elements in this state ideology. As a Christian, German state, Austria was superior to Nazi Germany and therefore obligated to take a leading role in Europe. The “Austrian mission” was to protect the Christian sphere from communism and liberalism. In Austria the regime supported attempts to expand the influence of the Catholic Church. Globally the government sought influence through missionary projects run by Catholic Austrian orders, for example that of the Capuchins in the Manchuria in 1933. The regime also encouraged neocolonical intentions and gave financial support to e.g. the settlement scheme of the Austrian Foreign Settlement Society in Brazil. In return the society established a “Dollfuss” settlement.

Art was intended to spread cultural imperialist thinking. One example is the dome fresco in the Church of St. Jakob in Defreggental, painted by Johann B. Oberkofler in 1935. He portrayed Engelbert Dollfuss, who had been murdered in 1934, as the rightful successor to Emperor Karl I and placed Austria, or more specifically Tyrol, at the heart of a Christian empire.