It has sometimes been observed that De Felice’s studies touch on the history of art in many respects. In terms of their breadth and detail, they are in fact a resource that would seem unavoidable. However, despite their strong transdisciplinary traits, they cannot be said to have become a common reading for figurative historians. They have not become so for multiple reasons, from time to time, technical-specialist or politico-ideological. The argument I try to formulate is that De Felice’s reflection on the issues of ‘consensus’ and ‘nation’ contains insights, indications and prospects of considerable interest not only for political and social historians, but also for the historians of Italian art of the first and (perhaps even more) the second century, a field of study, the latter, which appears to be modelled in depth, at national and international level, by rigidity and ideological bias. In order to focus now on general and methodological aspects, it raises the question of the soundness or fertility of certain ideological conditions, which are widespread both in the historical and critical narrative of academic background and in journalistic and curatorial discourse; and to investigate the continuity between the mid-20th century, even if this results in a less balanced and peaceful reconstruction of the progressive integration of post-conflict Italian art into the Atlantic context. It has been readily recognised De Felice’s political Historiography crosses art history in many points. In spite of this transdisciplinary aspect, it’s did’t become a Customary resource for art Historians because of political reasons or technical reasons. My thesis here is that De Felice’s reflexion on such themes as “consensus” or “nation” is important not only for political | social Historians, but even for art Historians engaged in detecting complex continuties between the first half and the second half of xth century in Italy and using both interpretative ready-madesand retrospective ideological distortions. If we shift historical perspective or change paradigm, “Find’find graduation” of Italian late Modernism in the new Euro-Atlantic artistic | cultural context born out of Second World War is less obstructive and immediate than usual.