ALOIS RIEGL THE MODERN CULT OF MONUMENTS PDF

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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Here lies the real strength of the museum as opposed to, say, the theme park or the illustrated publication, especially in an age that still values greatly omdern and authenticity but in which virtual realities and vicarious experiences are becoming commonplace.

But for Riegl the curator-conservator, it ends sixty years in the past. Such monu- ments, however, do not induce the same feeling as a well-maintained monument of lesser age.

Or are we to lower the standards of research where resources may not be available? I would propose that the intention to create replicas suggests an emphasis on use-value which eiegl, as we shall see, current trends in museological thought.

Institute of Art Rirgl,46— In the intervening decades, critics of the Venice Charter have attacked many of its premises, in particular, its focus on material authenticity. This contradiction has led to the current paradox: Visit Project Muse to read other articles featured in this issue. Leave a Reply Click here to cancel reply.

N ineteenth century laws were all tailored to the notion that the unintentional monument possessed only a historical value: Riegl suggests that there are instances in which different values can coexist within the same work and others in which they may clash. In order to apprehend the multiplicity of artistic production, there had to be a shift from the qualities of the object giegl the qualities of the viewing subject.

Historical monuments, in turn, come to be valued for a more general, and democratic, age value. To set a reading intention, click through to any list item, and look for the panel on the left hand side:.

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Have you read this? An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: 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. Romanticism had already recognized the relative value of art, as well as the special appeal of age.

Each successive stage represents a more highly evolved perception of the monument. To do this, some broader issues need taking into account.

This raises one further issue, relating to a broader ethical principle. Against the normative and allegedly antihistorical epistemologies of the Enlightenment, especially the thought of Kant, historicism insisted on the historicity of all knowledge and all forms of cognition.

When studied together with mounments draft law, it is clear that Riegl did not intend for relative values to replace older notions of value, but rather, to supplement them. Jarzombek, The Psychologizing of Modernity, 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. What riegp reading intentions?

The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication – Tate Papers | Tate

Yet in his Project, Riegl argued that age value would render such judgment unnecessary. There is riego ideal, absolute notion of artistic value independent of the relationship to the current cultural conditions.

I am also thankful to Jonathan Blower for making his recent fo and historic images available to me: But there is a catch. Riegl thought an absolute art-value completely independent of the present Kunstwollen impossible to define. Newness-value has always been identified with art in the eyes of the masses, while relative art value can only be appreciated by the aesthetically educated modern person.

From this perspective the outline of the Gabo project at Tate oc exemplary. This data would make evident the Kunstwollen of a particular place and time. The site of the former episcopium, believed to have been destroyed by arson in Yet few have analyzed this dense and tremendously influential essay in its historical context.

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Alois Riegl and the Modern Cult of the Monument

Riegl disputed this view: Architectural Essays, — Cambridge and London: The museum was later renamed the Museum of Applied Arts. Riegl, Progetto, emphasis mine.

On attitudes toward disencumbering, see especially B. But these ideas had not unseated the ideals embodied in the classical tradition. 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.

How can this be achieved?

Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

Our modern view, writes Riegl, rejects the notion of an objectively valid canon because it is based on relative perception. Intentional monuments — Intentional commemorative value aims to preserve a moment in the consciousness of later generations Unintentional monuments historical monuments — The historical value of a monument arises from the particular, individual stage it represents in the development of human activity in a certain field.

From the very beginning, moedrn seems, there was a tendency to separate the introductory, theoretical preamble from the legislative provisions that followed it.

Alois Riegl and the Modern Cult of the Monument | ERA Architects

Formalism applies not only to the work of art but to the forms under which they are observed E. A fair approach could be to present the replica as an object that is immediately recognisable as different from an original. This website uses cookies to ensure you get the best experience on our website. Yet, when it comes to art created in the last century, it could be argued that the emphasis on original works and the rejection of replication would serve to highlight the transient and precarious nature of some of its strands.