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Author: Mike Gubser
Publisher: Wayne State University Press
ISBN: 9780814332085
Category : Art
Languages : en
Pages : 320
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Book Description
Alois Riegl's art history has influenced thinkers as diverse as Erwin Panofsky, Georg Lukacs, Walter Benjamin, Paul Feyerabend, Gilles Deleuze, and F'lix Guattari. One of the founders of the modern discipline of art history, Riegl is best known for his theories of representation. Yet his inquiries into the role of temporality in artistic production-including his argument that art conveys a culture's consciousness of time-show him to be a more wide-ranging and influential commentator on historiographical issues than has been previously acknowledged. In Time's Visible Surface, Michael Gubser presents Riegl's work as a sustained examination of the categories of temporality and history in art. Supported by a rich exploration of Riegl's writings, Gubser argues that Riegl viewed artworks as registering historical time visibly in artistic forms. Gubser's discussion of Riegl's academic milieu also challenges the widespread belief that Austrian modernism adopted a self-consciously ahistorical worldview. By analyzing the works of Riegl's professors and colleagues at the University of Vienna, Gubser shows that Riegl's interest in temporality, from his early articles on calendar art through later volumes on the Roman art industry and Dutch portraiture, fit into a broad discourse on time, history, and empiricism that engaged Viennese thinkers such as the philosopher Franz Brentano, the historian Theodor von Sickel, and the art historian Franz Wickhoff. By expanding our understanding of Riegl and his intellectual context, Time's Visible Surface demonstrates that Riegl is a pivotal figure in cultural theory and that fin-de-si'cle Vienna holds continued relevance for today's cultural and philosophical debates.
Author: Mike Gubser
Publisher: Wayne State University Press
ISBN: 9780814332085
Category : Art
Languages : en
Pages : 320
Get Book Here
Book Description
Alois Riegl's art history has influenced thinkers as diverse as Erwin Panofsky, Georg Lukacs, Walter Benjamin, Paul Feyerabend, Gilles Deleuze, and F'lix Guattari. One of the founders of the modern discipline of art history, Riegl is best known for his theories of representation. Yet his inquiries into the role of temporality in artistic production-including his argument that art conveys a culture's consciousness of time-show him to be a more wide-ranging and influential commentator on historiographical issues than has been previously acknowledged. In Time's Visible Surface, Michael Gubser presents Riegl's work as a sustained examination of the categories of temporality and history in art. Supported by a rich exploration of Riegl's writings, Gubser argues that Riegl viewed artworks as registering historical time visibly in artistic forms. Gubser's discussion of Riegl's academic milieu also challenges the widespread belief that Austrian modernism adopted a self-consciously ahistorical worldview. By analyzing the works of Riegl's professors and colleagues at the University of Vienna, Gubser shows that Riegl's interest in temporality, from his early articles on calendar art through later volumes on the Roman art industry and Dutch portraiture, fit into a broad discourse on time, history, and empiricism that engaged Viennese thinkers such as the philosopher Franz Brentano, the historian Theodor von Sickel, and the art historian Franz Wickhoff. By expanding our understanding of Riegl and his intellectual context, Time's Visible Surface demonstrates that Riegl is a pivotal figure in cultural theory and that fin-de-si'cle Vienna holds continued relevance for today's cultural and philosophical debates.
Author: MitchellB. Frank
Publisher: Routledge
ISBN: 1351565710
Category : Art
Languages : en
Pages : 303
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Book Description
A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich W?lfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.
Author: DianaReynolds Cordileone
Publisher: Routledge
ISBN: 1351576992
Category : Art
Languages : en
Pages : 372
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Book Description
In Alois Riegl in Vienna 1875-1905: An Institutional Biography, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl?s published texts, several of which are still unavailable in English. Further, the author compares Riegl?s work to several of the early works of Friedrich Nietzsche that Riegl is known to have read before 1878. Using archival and other primary sources this study also illuminates the institutional conflicts and imperatives that shaped Riegl?s oeuvre. The result is a multi-layered philosophical, cultural and institutional history of this art historian?s work of the fin-de-si?e that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century, an epoch of innovation, culture wars and political uncertainty. The book is particularly devoted to explaining how Riegl?s theories of art were shaped by debates outside the purview of the academic art historian. Its focal point is the Austrian Museum for Art and Industry, where he worked for 13 years, and it presents a new interpretation of Riegl based upon his early exposure to Nietzsche.
Author: Dr Diana Reynolds Cordileone
Publisher: Ashgate Publishing, Ltd.
ISBN: 9781409466659
Category : Art
Languages : en
Pages : 330
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Book Description
In Alois Riegl in Vienna 1875-1905, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl’s published texts, several of which are still unavailable in English. Using archival and other primary sources this study also illuminates the institutional conflicts and imperatives that shaped Riegl’s oeuvre. The result is a multi-layered philosophical, cultural and institutional history of this art historian’s work of the fin-de-siècle that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century.
Author: Alois Riegl
Publisher: Princeton University Press
ISBN: 0691193967
Category : Art
Languages : en
Pages : 442
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Book Description
Written at the height of the arts and crafts movement in fin-de-siecle Vienna, Alois Riegl's Stilfragen represented a turning point in defining art and understanding the sources of its inspiration. Demonstrating an uninterrupted continunity in the history of ornament from the ancient Egyptian through the Islamic period, Riegl argued that the creative urge manifests itself in both "great art" and the most humble artifact, and that change is an inherent part of style. This new translation, which renders Riegl's seminal work in contemporary, readable prose, allows for a fresh reexamination of his thought in light of current revisionist debate. His discovery of infinite variation in the restatement of several decorative motifs--the palmette, rosette, tendril--led Riegl to believe that art is completely independent from exterior conditions and is beyond individual volition. This thinking laid the groundwork for his famous concept of Kunstwollen, or artistic intention. "Something that the translation will, I hope, convey, is the passion invsted in Riegl's enterprise. We are made to feel that the issues he discussed mattered vitally to him; it was the very nature of art and its relation to human life that were at stake, art as an absolute necessity." --From the preface of Henri Zerner Alois Reigl (1858-1905) was Curator of Textiles at the Museum of Art and Industry in Vienna during most of his career and wrote many influential works on the history of art, including Spatromische Kunstgeschichte. Evelyn Kain is Associate Professor of Art History at Ripon College, Ripon, Wisconsin. David Castriota is Assistant Professor of Art History at Sarah Lawrence College. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Garth Fowden
Publisher: Princeton University Press
ISBN: 0691168407
Category : History
Languages : en
Pages : 244
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Book Description
A new historical framework integrating Islam into European and Asian history Islam emerged amid flourishing Christian and Jewish cultures, yet students of Antiquity and the Middle Ages mostly ignore it. Despite intensive study of late Antiquity over the last fifty years, even generous definitions of this period have reached only the eighth century, whereas Islam did not mature sufficiently to compare with Christianity or rabbinic Judaism until the tenth century. Before and After Muhammad suggests a new way of thinking about the historical relationship between the scriptural monotheisms, integrating Islam into European and West Asian history. Garth Fowden identifies the whole of the First Millennium--from Augustus and Christ to the formation of a recognizably Islamic worldview by the time of the philosopher Avicenna--as the proper chronological unit of analysis for understanding the emergence and maturation of the three monotheistic faiths across Eurasia. Fowden proposes not just a chronological expansion of late Antiquity but also an eastward shift in the geographical frame to embrace Iran. In Before and After Muhammad, Fowden looks at Judaism, Christianity, and Islam alongside other important developments in Greek philosophy and Roman law, to reveal how the First Millennium was bound together by diverse exegetical traditions that nurtured communities and often stimulated each other.
Author: Richard Woodfield
Publisher: Routledge
ISBN: 1134395949
Category : Art
Languages : en
Pages : 329
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Book Description
Alois Riegl (1858-1905) was one of the founding fathers of modern formalist criticism. As a member of the Vienna School of Art Historians, he shared their range of interests in the decorative arts, art in transition, conservation and monuments. This collection of critical essays examines various facets of Riegl's work and opens with a new translation of Hans Sedlmayr's famous, and notorious,Die Quintessenze der Lehren Riegls. Included is Julius von Schlosser's assessment of Riegl's contribution to the Vienna School of Art Historians as well as essays by a team of international scholars. This book offers a re-engagement with the ideas of one of the most important and neglected art historians of the 20th century.
Author: Charles Bohl
Publisher: Routledge
ISBN: 1135234728
Category : Architecture
Languages : en
Pages : 717
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Book Description
These essays, from leading names in the field, weave together the parallels and differences between the past and present of civic art. Offering prospects for the first decades of the twenty-first century, the authors open up a broad international dialogue on civic art, which relates historical practice to the contemporary meaning of civic art and its application to community building within today’s multi-cultural modern cities. The volume brings together the rich perspectives on the thought, practice and influence of leading figures from the great era of civic art that began in the nineteenth century and blossomed in the early twentieth century as documented in the works of Werner Hegemann and his contemporaries and considered fundamental to contemporary practice.
Author: Margareta Ingrid Christian
Publisher: University of Chicago Press
ISBN: 022676480X
Category : Literary Criticism
Languages : en
Pages : 249
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Book Description
Margareta Ingrid Christian unpacks the ways in which, around 1900, art scholars, critics, and choreographers wrote about the artwork as an actual object in real time and space, surrounded and fluently connected to the viewer through the very air we breathe. Theorists such as Aby Warburg, Alois Riegl, Rainer Maria Rilke, and the choreographer Rudolf Laban drew on the science of their time to examine air as the material space surrounding an artwork, establishing its “milieu,” “atmosphere,” or “environment.” Christian explores how the artwork’s external space was seen to work as an aesthetic category in its own right, beginning with Rainer Maria Rilke’s observation that Rodin’s sculpture “exhales an atmosphere” and that Cezanne’s colors create “a calm, silken air” that pervades the empty rooms where the paintings are exhibited. Writers created an early theory of unbounded form that described what Christian calls an artwork’s ecstasis or its ability to stray outside its limits and engender its own space. Objects viewed in this perspective complicate the now-fashionable discourse of empathy aesthetics, the attention to self-projecting subjects, and the idea of the modernist self-contained artwork. For example, Christian invites us to historicize the immersive spatial installations and “environments” that have arisen since the 1960s and to consider their origins in turn-of-the-twentieth-century aesthetics. Throughout this beautifully written work, Christian offers ways for us to rethink entrenched narratives of aesthetics and modernism and to revisit alternatives.
Author: Amos Morris-Reich
Publisher: Springer
ISBN: 331949953X
Category : History
Languages : en
Pages : 344
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Book Description
This volume is concerned with the hitherto neglected role of the humanities in the histories of the idea of race. Its aim is to begin to fill in this significant lacuna. If, in the decades following World War II and the Holocaust – years that witnessed European decolonization and the African-American civil rights movement – the concept of ‘race’ slowly but surely lost its legitimacy as a cultural, political and scientific category, for much of the nineteenth and the first half of the twentieth century concepts of race enjoyed widespread currency in numerous fields of knowledge such as the history of art, history, musicology, or philosophy. Bringing together some of the most distinguished scholars in their respective fields, this is the first collective attempt to address the history of notions of race in the humanities as a whole.
