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Why Alois Riegl Still Haunts Art History. are not high-end patrons ordering lavish paintings, but the recently reenergised with the works of Alfred Gell, and 'thing small operators of the Renaissance city. In recent years, these theory' conceptualisations such as those of Bruno Latour and voices were silent in art historical research.
Riegl mentions replication almost in passing and does not discuss other possible values of the replica, which I would like to attempt. To do this, some broader issues need taking into account. Key points, for instance, are the values that an art work can acquire when it enters a public collection and, closely tied with that, the currently prevailing views over the social role of the art museum.
Alois Riegl (14 January 1858, Linz – 17 June 1905, Vienna) was an Austrian art historian, and is considered a member of the Vienna School of Art History. He was one of the major figures in the establishment of art history as a self-sufficient academic discipline , and one of the most influential practitioners of formalism .
Jun 1, 2017 · The Austrian art historian Alois Riegl (1858–1905) revolutionised the European concept of the monument and paved the way towards the codification of the historicity of artefacts at the international level. Today, conservation work and relevant terminology still build upon the principles first outlined in his work Der moderne Denkmalkultus (1903) more than a hundred years ago. And yet, modern ...
- Alexandra Harrer
- harrer@tsinghua.edu.cn
- 2017
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 ...
Henri Zerner, Aloïs Riegl: Art, Value, and Historicism, Daedalus, Vol. 105, No. 1, In Praise of Books (Winter, 1976), pp. 177-188
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Demonstrating an uninterrupted continunity in the history of ornament from the ancient Egyptian through the Islamic period, Riegl argued that the creative urge minifests 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 ...
