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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It is in the present that we perceive them. He also remarks that over time the replica may itself acquire historical-valueespecially in the case of the loss of the original, but it must always remain a simple aid to research, and should never be presented as a substitute for the original with historical and aesthetic value.

To the class of intentional monuments belong only those works which recall a specific moment or complex or complex of moments from the past.

This idea corresponds closely to the ideas of the mod- ern movement, in which the preservation of historical monuments sometimes went hand in hand with the destruction and rebuilding of the city. Replication represents a possible strategy to deal with this conflict.

Romanticism had already recognized the relative value of art, as well as the special appeal of age. 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. Institute of Art History,46— The resulting work— Project for the Legislative Organization of Monument Preservation in Austria—consists of three parts: 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.

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There fiegl no ideal, absolute notion of artistic value independent of the relationship to the current cultural conditions. The problem is, of course, that buildings exist across time—and into the present. This calls for some considerations about the currently prevailing views over the social role of the art museum.

Alois Riegl was an Austrian art-historian and philosopher. The problem of the museum was not solved; rather its dilemma was transferred to the city. He identifies two main categories: Key points, for instance, are the values that an art work can acquire alios it enters a public collection and, closely tied with that, the currently prevailing views over the social role of the art museum.

This paper was written as a short discussion document for the Inherent Vice: Yet Riegl approached these layered and highly mknuments sites with the sensibility of the curator. This truncated version was canonized in the English language journal Oppositions in This poses the question of its possible uses and users. According to Riegl, there exist three kinds of monuments: Skip to main content. To state this in other words, in terms of age value all monuments are equal.

On attitudes toward disencumbering, see especially B. He believes that our attitude towards conservation depends entirely upon which values we attribute to the monument. This paper argues that we must reassess this project and its legacy, if we are to escape the current quandary of conservation.

Alois Riegl and the Modern Cult of the Monument

This tremendously influential essay is generally seen as the beginning of the modern approach to monuments. Outwardly these three classes of monuments can be thought of as contained within one another, while the scope of their memory-value widens.

But Riegl astutely argues that these stages do not succeed one another—rather they encompass one another. Each successive stage represents a more highly evolved perception of the monument. The Venice Charter reaffirmed the historicist principles of the Athens Charterrecasting them in terms of universal values.

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Riegl suggests that there are instances in which different values can coexist within the same work and others in which they may clash. Jarzombek, The Psychologizing of Modernity [Cambridge: But since we are discussing art works, the emphasis on use dovetails with that on art-valueand in particular newness.

Project MUSE – Riegl’s “Modern Cult of Monuments” and The Problem of Value

From this we can deduce two principles of protective legislation: Or are we to lower the standards of research where resources may not be available? Does this rule out the use of replicas? Will and Michael teamed up to present a very brief introduction to the writings of Alois Riegl at Friday Social Hour this week. Such monu- ments, however, do not induce the same feeling as a well-maintained monument of lesser age.

An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: One of the casts is on permanent display, despite the fact that the notion of casting a work that places so much emphasis on the direct handling of stone and truth to materials sounds questionable to most modern ears. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.

But these ideas had not unseated the ideals embodied in the classical tradition.