Alois Riegl () was an Austrian art-historian and philosopher. titled The Modern Cult of the Monument: Its Character and Its Origin. Alois Riegl’s classic essay “The Modern Cult of Monuments: Its Character and Origin” () is often cited as the first, and most profound, formulation of. Alois Riegl’s classic essay ”The Modern Cult of Monuments: Its Character and Origin” () is often cited as the first, and most profound, formulation of.
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In conclusion, whatever the answers to these questions, I believe that it is fundamental for us to acknowledge that it is our present judgment and taste, and not objective criteria, that drive our choices in conservation and replication.
The site of the former episcopium, believed to have been destroyed by arson in I am also thankful to Jonathan Blower for making his recent dissertation and historic images available to me: This item appears on List: Help Center Find new research papers in: An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: This contradiction has led to the current paradox: Abstract The Venice Charter reaffirmed the historicist principles of the Athens Charterrecasting them in terms of universal values.
Project MUSE – Riegl’s “Modern Cult of Monuments” and The Problem of Value
But is it possible to conduct this amount of research for every work to be replicated? A significant distance in time from the beholder is therefore what first of all characterises a monument.
Some consideration should also be given to the life of the replica after its creation.
From this perspective, replicas created today will provide future scholars with useful evidence of our attitudes towards conservation and, more broadly, towards art — in the same way as nineteenth-century forgeries of earlier works tell us about the way of seeing of that period many of the forgeries then believed to be authentic today look obvious fakes to us. Please log in to set a read status. How can this be achieved?
Informed by his training in law and art history and by his experience as a museum curator, it is a carefully crafted treatise with a practical aim: Built on the Johns Hopkins University Campus.
Newness-value — Generally only new and whole things tend to be considered beautiful, and faded are thought to be ugly.
Alois Riegl The Modern Cult of Monuments. Its Character and its Origin.
In the intervening decades, critics of the Venice Charter have attacked many of its premises, in particular, its focus on material authenticity. Each issue is dedicated to a particular theme as a method to promote critical discourse on contemporary conservation issues from multiple perspectives both rkegl the field and across rifgl.
Zone Book, Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. The problem of the museum was not solved; rather its dilemma was transferred to the city. But these ideas had not unseated the ideals embodied in the classical tradition. In this position, Riegl was charged with the institutional restructuring of the protection of monuments.
Riegl understood art history as the history of perception: He identifies two main categories: Key points, for instance, are the values that an art work can acquire when it enters a public modefn and, closely tied with that, the currently prevailing views over the social role of the art museum.
Nineteenth-century historicism insisted on the historicity of all aloois and all forms of cognition. Each successive stage represents a more highly evolved perception of the monument. He repeatedly admon- ished art historians to refrain from speculation and aesthetic judgments.
Alois Riegl and the Modern Cult of the Monument
Will and Michael teamed up to present a very brief introduction to the writings of Alois Riegl at Friday Social Hour this week. A Rieglian Analysis of Values in Replication. The criterion of a sixty-year limit for the registration of a work presupposes recourse to experts historians only in rare cases. Here’s an example of what they look like: Our modern view of art, Riegl writes, rejects the notion of an objectively valid canon. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.
At the turn of the twentieth century, the commission launched a series of studies for the next phase of work.
Ever larger and more complex objects—vernacular building types, neighborhoods, and landscapes—are treated according to the same museological standards once reserved for monuments and art objects. Riegl sided with the members of the Secession who opposed the restoration, but did so in a balanced and diplomatic way—identifying the various values and interests of all parties concerned.
The goal of a law for the preservation of monuments in Austria is therefore the protection of age value of monuments, not only against injustice and bad faith, but against the other competing values, especially against contemporary values.
There is a place for the artist as such only if he is at the same time an historian and a technician. Now in the modern era, it is valued for its age, and hence for its emotional appeal to the masses. From this perspective, the replica could cater for our aesthetic needs, showing the sculpture in its intended condition.
Alois Riegl was an Austrian art-historian and philosopher. Controversy and Continuity [Amsterdam: Log In Sign Up. Riegl thought an absolute art-value completely independent of the present Kunstwollen impossible to define. With its aspiration to an eternal present, rieyl intentional commemorative-value is closely linked with present-day values. Enter the email address you signed up with and we’ll email you a reset link.