Alois Riegl

Written at the height of the arts and crafts movement in fin-de-sicle Vienna, Alois Riegl's Stilfragen represented a turning point in defining art and understanding the sources of its inspiration. Demonstrating an uninterrupted continuity 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 invested 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 by Henri Zerner

Foundations for a History of Ornament

Problems of Style

Historical Grammar of the Visual Arts

Late Roman Art Industry

Conserver et protéger ce que nous appelons les monuments historiques apparaît aujourd'hui comme un dogme de valeur universelle. Mais il n'en a pas toujours été ainsi - l'idée n'apparaît pleinement qu'au XIXe siècle - et, encore à l'heure actuelle, les critères et objectifs de cette préservation sont loin d'être clairs. Dans une analyse magistrale, qui demeure inégalée, Aloïs Riegl (1858-1905), un des fondateurs de l'histoire de l'art contemporaine, démonte le concept de monument historique, révèle les valeurs conflictuelles sur lesquelles il repose, et les solutions contradictoires que ce conflit peut commander - par exemple, restaurer ou laisser s'user. Le Moderne Denkmalkultus fut écrit en 1903, afin de poser les bases doctrinales d'une nouvelle politique : il ne suffit pas de dire " c'est un monument historique ", il faut savoir ce que cela signifie, et comment on veut le traiter.

son essence et sa genèse

Le culte moderne des monuments

Numa compilac?o de textos de suma importancia para a definic?o e classificac?o do monumento enquanto patrimonio, esta obra, na qual se cruzam historia da arte, estetica e os fundamentos de uma museificac?o do patrimonio arquitetonico, constituiu-se como um dos grandes textos classicos da moderna concec?o de patrimonio historico. Este e o n? 100 da Colec?o Arte e Comunicac?o.

O Culto Moderno dos Monumentos

Il culto moderno dei monumenti. Il suo carattere e i suoi inizi

Andrew Hopkins

Arnold Alexander Witte

Alina Alexandra Payne

Delivered three times between 1898 and 1902 and subsequently revised with an eye toward publication, Alois Riegl's lectures on the origins of Baroque art in Rome broke new ground in its field. In his approach and content, Riegl offered a markedly different account from that of Heinrich Wölfflin and other contemporaries: the beginning of the new artistic era extending from the 1520s to the seventeenth and eighteenth centuries was to be judged by its own rules and not merely as a period of decline. This first English translation brings Riegl's compelling vision of the Baroque to life and amply illustrates his charisma as a lecturer. His text is full of perceptive observations on the most important artists of the period from Michelangelo to Caravaggio. By taking the spectator into consideration, Riegl identifies a crucial defining change between Renaissance and Baroque art and provides invaluable inspiration for present-day readers.

The Origins of Baroque Art in Rome

In The Group Portraiture of Holland, art historian Alois Riegl (1858-1905) argues that the artists of sixteenth- and seventeenth-century Holland radically altered the beholders relationship to works of art. Group portraits by artists such as Rembrandt and Frans Halls reflect an egalitarian viewpoint not found in the more hierarchically structured Italian works of the same period. First published in 1902 and here in English for the first time, the book opened up areas of inquiry that continue to engage scholars today.

The Group Portraiture of Holland

A to is Riegl (1858-1905) was one of the greatest modern art historians. The most important member of the so-called "Vienna School," Riegl developed a highly refined technique of visual or formal analysis, as opposed to the iconological method with its emphasis on decoding motifs through recourse to texts. Riegl also pioneered understanding of the changing role of the viewer, the significance of non-high art objects or what would now be called visual or material culture, and theories of art and art history, including his much-debated neologism Kunstwollen (the will of art). At last, his Historical Grammar of the Visual Arts, which brings together the diverse threads of his thought, is available to an English-language audience, in a superlative translation by Jacqueline E. Jung. In one of the earliest and perhaps the most brilliant of all art historical "surveys," Riegl addresses the different visual arts within a sweeping conception of the history of culture. His account derives, from Hegelian models but decisively opens onto alternative pathways that continue to complicate attempts to reduce art merely to the artist's intentions or its social and historical functions. Book jacket.

Alois Riegl

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