350:'s seminal work, Art and Artist. Rank recognized the will-to-art as parallel to an idea he had been developing on creative urge and personality development. Riegl's work allowed Rank to apply the general problem of will to artistic expression across cultures where Rank found consistency for the individual will in a social ideology. Primitive, "ornamental" art, for example, uniquely represents a social belief in the abstract soul, and does not represent a lack of naturalism; it is an accurate presentation of the abstract in concrete form. Rank follows the development of art, which he believes contributes more than religion, in the humanization and concretization of the soul belief as classically displayed in nature and then man himself as the god. It is Riegl's emphasis on the historical context that initially inspires Rank to equally consider all forms of expression as a will-to-art.
357:
relativist approach to art and maintains that, "what appears from our standpoint the greatest distortion, must have been, at the time, for its creator the highest beauty and expression of his artistic volition." Rank cites
Worringer as taking Riegl up to the verge of psychological insight where art forms can be interpreted parallel to forms of belief in the soul, and, indeed, Worringer coined the term "expressionism" which is the modern individual psychology of Rank's presentation under primitive abstraction, classical intuition, and modern expression.
20:
368:. In retrospect a number of tendencies of Riegl's work seem to have foreshadowed the concerns of contemporary art history: his insistence that aesthetics be treated in historical context, and not in relation to an ideal standard; his interest in the "minor" arts; and his attention to the relationship between viewers and objects.
221:(1895), a study of late antique manuscript painting. The two books, taken together, were among the first to consider the aesthetic characteristics of late antique art on their own terms, and not as representing the collapse of classical standards. They also led to a controversy between Riegl and Wickhoff, on the one side, and
252:
expresses the way man wants to imagine them. Man is not only a passive, sensory recipient, but also a desiring, active being who wishes to interpret the world in such a way (varying from one people, region, or epoch to another) that it most clearly and obligingly meets his desires. The character of
261:
are clearly expressed: its active nature, through which art becomes, not the imitation of reality, but the expression of a desired reality; its historical contingency; and its relation to other elements of "worldview." By means of this theoretical apparatus, Riegl could claim to penetrate to the
356:
likewise mentions his debt to Riegl in terms of art theory, and what
Worringer calls, "the urge to abstraction." Art history is not a progress of ability from primitive lack of skill, but is, in Riegl's terms, a history of volition. Clemena Antonova writes, "Worringer sides with Riegl in that
177:, a period that was at the time considered merely as the decadent end of the Renaissance. In the meantime he became increasingly preoccupied with the relationship between stylistic development and cultural history, a concern that may indicate the growing influence of
161:
as a historically contingent tendency of an age or a nation that drove stylistic development without respect to mimetic or technological concerns. Its proper interpretation, however, has itself been a subject of scholarly debate for over a century.
304:). Riegl had a robust following in Vienna, and certain of his students (the so-called Second Vienna School) attempted to develop his theories into a comprehensive art-historical method. In certain cases, such as that of the controversial
189:). In these manuscripts Riegl attempted to chart the entire history of western art as the record of a "contest with nature." This contest took different forms depending on the changing historical conceptions of nature by humans.
192:
In 1901 Riegl published a work that combined his interest in neglected, "transitional," periods with his endeavor to explain the relationship between style and cultural history. This took the form of a study of
137:) (1893). In this work Riegl sought to refute the materialist account of the origins of decorative motifs from, for example, the weaving of textiles, a theory that was associated with the followers of
709:
Michael Falser, "Denkmalpflege zwischen europÀischem GedÀchtnis und nationaler
Erinnerung â Riegls Alterswert und Kulturtechniken der Berliner Nachwendezeit." In: CsĂ ky, M., GroĂegger, E. (Eds)
277:, and represented yet another shift in method. Here Riegl began to develop a theory of "attentiveness" to describe the relationship between the viewer of a work of art and the work itself.
716:
Michael Falser, "Zum 100. Todesjahr von Alois Riegl. Der
Alterswert als Beitrag zur Konstruktion staatsnationaler IdentitÀt in der Habsburg-Monarchie um 1900 und seine Relevanz heute. In:
741:, Atti del Convegno Internazionale di Studi, Roma 30 Novembre / 1-2 Dicembre 2005, Accademia Nazionale dei Lincei, Atti dei Convegni Lincei 236, Roma 2008, pp. 219â237.
248:
regulates man's relationship to the sensibly perceptible appearance of things. Art expresses the way man wants to see things shaped or colored, just as the poetic
728:
181:'s work on his thought. This concern is particularly evident in two manuscripts that he prepared during this time, but were published only after his death as the
849:
Michael Falser: Zum 100. Todesjahr von Alois Riegl 2005. Der
Alterswert und die Konstruktion staatsnationaler IdentitÀt in der Habsburg-Monarchie um 1900,
141:. Instead, Riegl attempted to describe a continuous and autonomous "history of ornament." To this end he followed certain ornamental motifs, such as the
672:
G. Dolff-BonekĂ€mper, "Gegenwartswerte. FĂŒr eine
Erneuerung von Alois Riegls Denkmalwerttheorie". In: Hans-Rudolf Meier und Ingrid Scheurmann (eds.).
922:
445:(Los Angeles, 1989), 384-92. The following list includes only monographs, book-length works, and collections, arranged by date of publication.
253:
this will is contained in what we call the worldview (again in the broadest sense): in religion, philosophy, science, even statecraft and law.
821:
685:
611:
244:
All human will is directed toward a satisfactory shaping of man's relationship to the world, within and beyond the individual. The plastic
360:
In the late twentieth century, the entirety of Riegl's work was revisited by scholars of diverse methodological persuasions, including
323:
remained influential throughout the twentieth century. Its terminology was introduced to
English-language scholarship in particular by
658:
R. Casetti, "Vom Nutzen und
Nachteil der Historie im modernen Denkmalkultus. Der Einfluss von Friedrich Nietzsche auf Alois Riegl.",
236:
than as a study of late antique art. Indeed, one of Riegl's clearer definitions of the concept appears in the final chapter of the
907:
729:
https://www.academia.edu/2282537/Alle_origini_del_dibattito_sulla_nascita_dellarte_tardoantica._Riflessi_nella_critica_italiana
917:
205:) (1901) was an attempt to characterize late antique art through stylistic analyses of its major monuments (for example, the
112:
115:) in Vienna, where he would work for the next ten years, eventually as director of the textile department. His first book,
805:
W. SauerlĂ€nder, âAlois Riegl und die
Enstehung der autonomen Kunstgeschichte am Fin-de-SiĂšcle,â in R. Bauer et al., eds.,
46:
784:
M. Rampley, âSpectatorship and the historicity of art: re-reading Alois Riegl's
Historical grammar of the fine arts,â
90:
912:
859:
Diana Reynolds Cordileone, âThe advantages and disadvantages of Art History to Life: Alois Riegl and historicismâ
791:
M. Rampley, "Subjectivity and modernism. Riegl and the rediscovery of the Baroque," in Richard Woodfield, ed.,
142:
512:(Vienna, 1903). Tr. K. W. Forster and D. Ghirardo, âThe modern cult of monuments: its character and origin,â
274:
742:
677:
625:
Alois Riegl und die Kunstgeschichte als Kulturgeschichte: Ăberlegungen zum FrĂŒhwerk des Wiener Gelehrten
555:
Time's visible surface: Alois Riegl and the discourse on history and temporality in fin-de-siĂšcle Vienna
339:, which he called "the one great book ever written about the history of ornament", in his own study of
157:(difficult to translate, although "will to art" is one possibility). Riegl seems to have conceived the
902:
897:
66:
812:
CĂ©line Trautmann-Waller: "Alois Riegl (1858â1905)". In: Michel Espagne and BĂ©nĂ©dicte Savoy (eds.).
576:
Alois Riegl Revisited: BeitrĂ€ge zu Werk und Rezeption â Contributions to the Opus and its Reception
206:
50:
361:
854:
126:
Riegl's reputation as an innovative art historian, however, was established by his second book,
725:
Alle origini del dibattito sulla nascita dellâarte tardoantica. Riflessi nella critica italiana
698:
J. Elsner, âFrom empirical evidence to the big picture: some reflections on Riegl's concept of
383:
J. Elsner: "From empirical evidence to the big picture: some reflections on Riegl's concept of
853:, europÀische GedÀchtnisorte und der DDR-Palast der Republik in Berlin. Kunsttexte.de (1/2006)
817:
681:
618:
Oltre la storia dellâarte: Alois Riegl, vita e opere di un protagonisto della cultura viennese
607:
353:
222:
868:
504:
138:
82:
49:. He was one of the major figures in the establishment of art history as a self-sufficient
324:
309:
86:
78:
74:
54:
332:
214:
194:
105:
70:
777:(Berlin, 1974). Tr. K.J. Northcott and J. Snyder, âThe concept of artistic volition,â
891:
798:
M. Rampley, "Art history and the politics of empire. Re-thinking the Vienna School,"
305:
178:
42:
262:
essence of a culture or an era through formal analysis of the art that it produced.
590:
The Vienna School of Art History. Empire and the Politics of Scholarship, 1847â1918
146:
98:
437:
The most complete bibliographies of Riegl's work are found in K.M. Swoboda, ed.,
312:. As a result, Riegl's stock declined, particularly in the American academy, and
850:
313:
150:
462:
365:
328:
128:
94:
651:
B. Binstock, âPostscript: Alois Riegl in the presence of âThe Nightwatchâ,â
347:
755:
M. Olin, âAlois Riegl: The late Roman Empire in the late Habsburg Empire,â
288:
Many of Riegl's unfinished works were published after his death, including
858:
691:
J. Elsner, âThe birth of late antiquity: Riegl and Strzygowski in 1901,â
632:
The Vienna School reader: politics and art historical method in the 1930s
402:
The Vienna School reader: politics and art historical method in the 1930s
346:
At the turn of the twentieth century, Riegl had a significant impact on
19:
174:
108:
39:
232:
was conceived more as a philosophical justification of the concept of
743:
https://www.academia.edu/2307464/Echi_di_Riegl_nella_critica_italiana
35:
869:"INDUSTRIALIZING FOLK ART Aesthetic Transformation in Alois Riegl's
486:
Die spĂ€trömische Kunstindustrie nach den Funden in Ăsterreich-Ungarn
841:
674:
DENKmalWERTE. BeitrÀge zur Theorie und AktualitÀt der Denkmalpflege
173:
position at the University of Vienna, where he began to lecture on
225:, on the other, concerning the origins of the late antique style.
18:
520:
Die Entstehung der Barockkunst in Rom: Vorlesungen aus 1901â1902
69:, where he attended classes on philosophy and history taught by
31:
711:
Jenseits von Grenzen. Transnationales , translokales GedÀchtnis
441:(Augsburg, 1929), xxxv-xxxix; and E.M. Kain and D. Britt, tr.,
257:
Here all the main elements of Riegl's mature conception of the
665:
P. Crowther, âMore than ornament: the significance of Riegl,â
101:, completed in 1889, addressed medieval calendar manuscripts.
534:, ed. K.M. Swoboda and O. PĂ€cht (Graz, 1966). Tr. J.E. Jung,
604:
Alois Riegl in Vienna 1875â1905: An Institutional Biography.
280:
Riegl died from cancer three years later, at the age of 47.
807:
Fin-de-SiĂšcle: zu Literatur und Kunst der Jahrhundertwende
213:
followed the lead of an earlier work by Riegl's colleague
145:, from ancient near eastern through classical and up into
773:
14 (1920). Reprinted in H. Oberer and E. Verheyen, eds.,
771:
Zeitschrift fĂŒr Ăsthetik und allgemeine Kunstwissenschaft
718:Ăsterreichische Zeitschrift fĂŒr Kunst- und Denkmalpflege
135:
Problems of style: foundations for a history of ornament
827:
H. Zerner, âAlois Riegl: art, value, and historicism,â
660:Ăsterreichische Zeitschrift fĂŒr Kunst und Denkmalpflege
510:
Der moderne Denkmalkultus, sein Wesen, seine Entstehung
209:) and also of such humble objects as belt buckles. The
569:
Forms of representation in Alois Riegl's theory of art
862:
Journal of Art Historiography Number 3 December 2010
104:
In 1886 Riegl accepted a curatorial position at the
53:, and one of the most influential practitioners of
727:, in MEDITERRANEO ANTICO V, 1, 2002, pp. 117â146.
597:Riegls âKunstwollenâ: Versuch einer Neubetrachtung
131:: Grundlegungen zu einer Geschichte der Ornamentik
77:, Max BĂŒdinger, and Robert Zimmerman, and studied
499:22 (1902), 71-278. Tr. E.M. Kain and D. Britt,
775:AufsÀtze zu Grundfragen der Kunstwissenschaft
769:E. Panofsky, âDer Begriff des Kunstwollens,â
574:P. Noever: A. Rosenauer and G. Vasold (eds):
450:Die Ă€gyptischen Textilfunde im Ăsterr. Museum
8:
814:Dictionnaire des historiens d'art allemands.
522:, ed. A. Burda and M. DvoĆĂĄk (Vienna, 1908).
748:W. Kemp, âAlois Riegl,â in H. Dilly, ed.,
532:Historische Grammatik der bildenden KĂŒnste
298:Historische Grammatik der bildenden KĂŒnste
183:Historische Grammatik der bildenden KĂŒnste
153:, in the process developing the idea of a
111:Museum fĂŒr Kunst und Industrie (today the
480:Ein orientalischer Teppich vom Jahre 1202
474:Volkskunst, HausfleiĂ, und Hausindustrie
426:Worringer, Abstraction and Empathy, p.14
871:Volkskunst, HausfleiĂ und Hausindustrie
497:Jahrbuch des allerhöchsten Kaiserhauses
376:
316:was seen as a more responsible method.
123:) (1891), grew out of this experience.
884:- useful English summary of this book.
739:Alois Riegl (1858â1905) un secolo dopo
720:, Wien. (LIX, 2005) Heft 3/4, 298â311.
294:The development of Baroque art in Rome
228:It has been argued, however, that the
89:. His dissertation was a study of the
536:Historical grammar of the visual arts
302:Historical grammar of the visual arts
290:Die Entstehung der Barockkunst in Rom
187:Historical grammar of the visual arts
7:
735:Echi di Riegl nella critica italiana
528:, ed. K.M. Swoboda (Augsburg, 1929).
45:, and is considered a member of the
676:. Georg Mörsch zum 70. Geburtstag.
562:Alois Riegl: art history and theory
495:"Das hollÀndische GruppenportrÀt,"
265:Riegl's final completed monograph,
14:
501:The Group Portraiture of Holland
443:The Group Portraiture of Holland
271:The group portraiture of Holland
923:Historians from Austria-Hungary
793:Framing Formalism. Riegl's Work
639:Framing formalism: Riegl's work
488:(Vienna, 1901). Tr. R. Winkes,
267:Das hollÀndische GruppenportrÀt
880:Kakanien Revisited: Emergenzen
750:Altmeister der Kunstgeschichte
583:The critical historians of art
1:
466:(Berlin, 1893). Tr. E. Kain,
165:In 1894, on the basis of the
844:Dictionary of Art Historians
47:Vienna School of Art History
816:CNRS Editions, Paris 2010,
602:Diana Reynolds Cordileone:
308:, this led to unrestrained
199:SpÀtrömische Kunstindustrie
113:Museum fĂŒr angewandte Kunst
941:
842:Riegl at the biographical
809:(Frankfurt, 1977), 125â39.
606:(Farnham: Ashgate, 2014.)
795:(Amsterdam, 2000) 265-90.
762:O. PĂ€cht, âAlois Riegl,â
637:Richard Woodfield (ed.):
456:Altorientalische Teppiche
273:) (1902), focused on the
117:Altorientalische Teppiche
867:Rahmen, Sabrina (2007).
680:, Berlin, MĂŒnchen 2010,
571:(University Park, 1992).
121:Antique oriental carpets
908:Austrian art historians
831:105 (1976), pp. 177â88.
733:M. Ghilardi - F. Zevi,
592:(University Park, 2013)
490:Late Roman art industry
404:(New York, 2000), 94-95
203:Late Roman art industry
169:, Riegl was awarded an
752:(Berlin, 1990), 37â60.
599:(Sankt Augustin, 2003)
505:fully available online
255:
24:
16:Austrian art historian
918:Scholars of Dutch art
713:. Vienna 2007, 75â93.
678:Deutscher Kunstverlag
242:
65:Riegl studied at the
23:Alois Riegl, ca. 1890
22:
802:91.4 (2009), 447â63.
503:(Los Angeles, 1999,
335:drew heavily on the
67:University of Vienna
824:, pp. 217â228; 405.
766:105 (1963), 190â91.
764:Burlington Magazine
662:, Heft 1 LXII 2008.
526:Gesammelte AufsÀtze
439:Gesammelte AufsÀtze
417:(London, 1984), 182
207:Arch of Constantine
51:academic discipline
788:12 (1996), 209â17.
706:32 (2006), 741â66.
695:25 (2002), 358â79.
669:17 (1994), 482â94.
641:(Amsterdam, 2001).
595:A. Reichenberger:
585:(New Haven, 1984).
564:(Cambridge, 1993).
470:(Princeton, 1992).
415:The sense of order
391:32 (2006), 741-66.
362:post-structuralism
341:The sense of order
219:Die Wiener Genesis
30:(14 January 1858,
25:
913:Writers from Linz
822:978-2-271-06714-2
759:5 (1994), 107â20.
686:978-3-422-06903-9
634:(New York, 2000).
630:C.S. Wood (ed.):
627:(Freiburg, 2004).
612:978-1-4094-6665-9
538:(New York, 2004).
516:25 (1982), 20-51.
468:Problems of style
354:Wilhelm Worringer
223:Josef Strzygowski
930:
883:
877:
781:8 (1981), 17â33.
779:Critical Inquiry
757:Austrian Studies
704:Critical Inquiry
655:74 (1995), 3644.
616:S. Scarrocchia:
557:(Detroit, 2006).
458:(Leipzig, 1891).
427:
424:
418:
411:
405:
398:
392:
389:Critical Inquiry
381:
139:Gottfried Semper
109:Ăsterreichisches
34:â 17 June 1905,
940:
939:
933:
932:
931:
929:
928:
927:
888:
887:
875:
866:
838:
648:
578:. (Wien, 2010).
550:
545:
482:(Berlin, 1895).
476:(Berlin, 1894).
452:(Vienna, 1889).
435:
430:
425:
421:
413:E.H. Gombrich,
412:
408:
400:Tr. C.S. Wood:
399:
395:
382:
378:
374:
325:Paul Jacobsthal
286:
171:extraordinarius
87:Moritz Thausing
79:connoisseurship
75:Alexius Meinong
63:
17:
12:
11:
5:
938:
937:
934:
926:
925:
920:
915:
910:
905:
900:
890:
889:
886:
885:
864:
856:
847:
837:
836:External links
834:
833:
832:
825:
810:
803:
796:
789:
786:Word and Image
782:
767:
760:
753:
746:
731:
721:
714:
707:
696:
689:
670:
663:
656:
647:
644:
643:
642:
635:
628:
621:
620:(Milan, 2006).
614:
600:
593:
586:
579:
572:
565:
558:
549:
546:
544:
541:
540:
539:
529:
523:
517:
507:
493:
483:
477:
471:
459:
453:
434:
431:
429:
428:
419:
406:
393:
375:
373:
370:
364:and reception
333:Ernst Gombrich
285:
282:
238:Kunstindustrie
230:Kunstindustrie
215:Franz Wickhoff
211:Kunstindustrie
195:late antiquity
147:early medieval
71:Franz Brentano
62:
59:
15:
13:
10:
9:
6:
4:
3:
2:
936:
935:
924:
921:
919:
916:
914:
911:
909:
906:
904:
901:
899:
896:
895:
893:
881:
874:
872:
865:
863:
860:
857:
855:
852:
848:
846:
845:
840:
839:
835:
830:
826:
823:
819:
815:
811:
808:
804:
801:
797:
794:
790:
787:
783:
780:
776:
772:
768:
765:
761:
758:
754:
751:
747:
744:
740:
736:
732:
730:
726:
723:M. Ghilardi,
722:
719:
715:
712:
708:
705:
701:
697:
694:
690:
687:
683:
679:
675:
671:
668:
664:
661:
657:
654:
650:
649:
645:
640:
636:
633:
629:
626:
622:
619:
615:
613:
609:
605:
601:
598:
594:
591:
587:
584:
580:
577:
573:
570:
566:
563:
559:
556:
552:
551:
547:
542:
537:
533:
530:
527:
524:
521:
518:
515:
511:
508:
506:
502:
498:
494:
492:(Rome, 1985).
491:
487:
484:
481:
478:
475:
472:
469:
465:
464:
460:
457:
454:
451:
448:
447:
446:
444:
440:
432:
423:
420:
416:
410:
407:
403:
397:
394:
390:
386:
380:
377:
371:
369:
367:
363:
358:
355:
351:
349:
344:
342:
338:
334:
330:
326:
322:
317:
315:
311:
307:
306:Hans Sedlmayr
303:
299:
295:
291:
283:
281:
278:
276:
275:Dutch baroque
272:
268:
263:
260:
254:
251:
247:
241:
239:
235:
231:
226:
224:
220:
216:
212:
208:
204:
200:
196:
190:
188:
184:
180:
179:Karl Schnaase
176:
172:
168:
163:
160:
156:
152:
148:
144:
140:
136:
132:
130:
124:
122:
118:
114:
110:
107:
102:
100:
96:
92:
88:
84:
80:
76:
72:
68:
60:
58:
56:
52:
48:
44:
43:art historian
41:
37:
33:
29:
21:
879:
870:
861:
843:
828:
813:
806:
800:Art Bulletin
799:
792:
785:
778:
774:
770:
763:
756:
749:
738:
734:
724:
717:
710:
703:
699:
692:
673:
666:
659:
652:
638:
631:
624:
617:
603:
596:
589:
588:M. Rampley:
582:
575:
568:
561:
560:M. Iversen:
554:
543:Bibliography
535:
531:
525:
519:
513:
509:
500:
496:
489:
485:
479:
473:
467:
461:
455:
449:
442:
438:
436:
422:
414:
409:
401:
396:
388:
384:
379:
359:
352:
345:
340:
336:
320:
318:
301:
297:
293:
289:
287:
279:
270:
266:
264:
258:
256:
249:
245:
243:
237:
233:
229:
227:
218:
210:
202:
198:
191:
186:
182:
170:
166:
164:
158:
154:
134:
127:
125:
120:
116:
103:
99:habilitation
97:, while his
91:Jakobskirche
64:
27:
26:
903:1905 deaths
898:1858 births
851:Georg Dehio
700:Kunstwollen
693:Art History
667:Art History
623:G. Vasold:
553:M. Gubser:
514:Oppositions
385:Kunstwollen
327:'s work on
314:iconography
259:Kunstwollen
250:Kunstwollen
246:Kunstwollen
234:Kunstwollen
175:Baroque art
159:Kunstwollen
155:Kunstwollen
151:Islamic art
85:model with
28:Alois Riegl
892:Categories
581:M. Podro:
548:Monographs
463:Stilfragen
366:aesthetics
337:Stilfragen
329:Celtic art
321:Stilfragen
296:) and the
167:Stilfragen
129:Stilfragen
95:Regensburg
567:M. Olin:
348:Otto Rank
310:formalism
143:arabesque
83:Morellian
55:formalism
38:) was an
829:Daedalus
688:, 27â40.
646:Articles
319:Riegl's
40:Austrian
873:(1894)"
653:October
81:on the
820:
684:
610:
284:Legacy
197:. The
36:Vienna
876:(PDF)
737:, in
433:Works
372:Notes
818:ISBN
682:ISBN
608:ISBN
149:and
106:k.k.
61:Life
32:Linz
702:,â
387:,"
93:in
894::
878:.
343:.
331:.
240::
217:,
73:,
57:.
882:.
745:.
300:(
292:(
269:(
201:(
185:(
133:(
119:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
