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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Memory values pertain to the satisfaction of psychological and intellectual needs. In the intervening decades, critics of the Venice Charter have attacked many of its premises, in particular, its focus on material authenticity. At the end of his life, during his brief association with the Austrian monuments commission, Riegl applied his ideas to the monument, in draft legislation and in a number of articles and opinions.
And if, as I suspect, the answer is negative, are we going to replicate only the degraded works of those artists in whom there is an interest and for whom resources are available?
In the intervening decades, critics of aloks Venice Charter have attacked many of its premises, in particular, its focus on material authenticity. The ongoing interchange between subject and object, between man and his environment, never ends for Riegl the visionary art historian. This poses the question, addressed further down, of its changing values over time, which is particularly relevant in relationship to its second possible use, in a public display.
In essence, Riegl recasts art history in th of the theory of historicism: The criterion of a sixty-year limit for the monumenfs of a work presupposes recourse to experts historians only in rare cases.
Finally, Riegl argus that the category modwrn monuments of age-value embraces every artifact without regard to its original significance and purpose, mdoern long as it reveals the passage of a considerable period of time.
Skip to main content. There is a place for the artist as such only if he is at the same time an historian and a technician.
Politics and Culture [New York: According to nineteenth century views, there was something of the eternal canon in every type of art; therefore each artifact deserved both perpetual conservation for the benefit of our aesthetic satisfaction….
The desire to create replicas for display purposes can be interpreted as the result of the museological trend to use collections primarily for educational purposes, with an essentially utilitarian approach. Princeton Architectural Press,— Alois Riegl was an Austrian art-historian and philosopher. Few scholars have explored the obvious connection between his experience in the curatorial management of artifacts and his theoretical work.
The problem is, of course, that buildings exist across time—and into the present. If so, should this stop us from replicating? From this we can deduce two principles of protective legislation: He believes that our attitude towards conservation depends entirely upon which values we attribute to the monument. This data would make evident the Kunstwollen of a particular place and time.
Age-value makes explicit a sense of the life cycle of the artifact, and of culture as a whole. According to Riegl, there exist three kinds of monuments:.
Riegl’s Modern Cult of Monuments and the Problem of Value | Michele Lamprakos –
As Kurt Forster describes: How can this be achieved? As Blower has shown, the shift was not appreciated by Spalatians. Main menu additional Become a Member Shop. 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.
His theories of art took shape during his tenure as curator of the Museum of Art and Industry, a position that he held for fourteen years — This raises rietl further issue, relating to aloos broader ethical principle. I would propose that the intention to create replicas suggests an emphasis on use-value which reflects, as we shall see, current trends in museological thought.
The connection between Riegl and Herbart was suggested to me by Erika Najinski.
Yet in his Project, Riegl argued that age value would render such judgment unnecessary. Abstract The Venice Charter reaffirmed the historicist principles of the Athens Charter monumnets, recasting them in terms of universal values.
This contradiction has led to the current paradox: Themes are examined at all scales, from the global and regional to the microscopic and material.
Contact Contact Us Help. This process has, in effect, frozen large swathes of the built environment in time—a situation that is unsustainable in cultural, social, and economic terms.
Alois Riegl and the Modern Cult of the Monument
Intentional monuments All of antiquity and the Middle Ages knew only intentional monuments Unintentional monuments historical monuments The nineteenth century not only dramatically increased appreciation of historical value, but it also sought to give it legal protection… This in turn gave rise to an unprecedented surge of art-historical research.
Demolition of the building would reveal the cathedral all at once. But it also echoes the ideas of his contemporaries in the Austrian Secession. But since we are discussing art works, the emphasis on use dovetails with that on art-valueand in particular newness.
How do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: Yet Riegl approached these layered and highly complex sites with the sensibility of the curator. Architectural Essays, — Cambridge and London: However, as we have seen, after its creation the replica itself acquires historical and age-value.
An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: With its aspiration to an eternal present, the intentional commemorative-value is closely linked with present-day values. While the latter may allow some concessions to contemporary values newness value, art value, and use valuethese values are generally excluded from the cult of monuments. Denslagen describes the new consensus against restoration in German-speaking countries circa Architectural Restoration in Western Europe: On the one hand, we have an art whose emphasis is on experimentation, ephemerality, exploration of material decadence and rejection of the traditional principles of conservation and collecting.