FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W293661431> ?p ?o ?g. }

• W293661431 abstract "Riegl as LecturerAlois Riegl (1858-1905) was the most influential of the Viennese art historians from the period when the discipline was being defined there as an academic subject. He should not require an introduction to the readers of these pages. Otto Pacht offered a very succinct explanation of his work to a previously unsympathetic English audience.2 References he himself made to his own publications tell us that he considered it to have been his foremost achievement to have refuted the theories put forth by the followers of Gottfried Semper, who derived artistic forms from the material and techniques with which they were made. Riegl succeeded in demonstrating that one artistic form was based on another as the grounds of an autonomous history of art. A less forward looking aspect of his reflections was an interest in universal history which he shared with Wickhoff. This led him into subjects barely remembered today, but considering his lasting influence the entire work should be borne in mind and generalizations not be based on too narrow a selection.Although his followers have been described as 'radical formalists', Riegl's relatively consistent approach was in fact comprehensive. A number of his essays address strictly iconographical subjects while others involve sociological aspects in the context of universal history. Although this has often been related to an influence from G. W. F. Hegel, he was in fact more interested in the rather different world view of Friedrich Nietzsche, and this is apparent in several of his more popular essays.3His obscure manner of expressing his speculative ideas has always made it difficult to understand them properly. Ludwig Coellen and Walter Passarge misrepresented them as a 'psychological' explanation of art and the tangent taken up by Wilhelm Worringer was recognized and immediately reviewed as such.4 Riegl's famous concept of Kunstwollen was even misinterpreted with a national or racial connotation in lectures published during the 1930's by Karl Maria Swoboda, himself an editor responsible for popularizing Riegl's writings since 1929.5 Guido Kaschnitz and Otto Pacht may be considered as examples of critical and insightful scholars whose lectures and essays have endorsed Riegl and continued his approach.Since obstacles to an understanding of Riegl obviously persist even beyond English-speaking areas, it seems worth recalling that in spite of his inscrutable way of expressing himself, his inconclusiveness and frequent mistakes in dating monuments among other things, he was efficacious as a teacher. The practical application of his particular idealist approach is probably best seen in the book reviews published by his students, primarily in the Kunst geschichtliche Anzeigen. Aside from the fact that much of the best surviving work of Max Dvorak and Hans Tietze is to be found among those reviews, Georg Sobotka, Oskar Poliak, Adalbert Birnbaum and other devoted students left evidence of Riegl's teachings in the criticisms they levelled in those pages against the publications of the time.While the great works such as the Spatromische Kunstindustrie suffered from empirical and other lapses which the author did not survive to emend, his lectures at the university must have inspired a greater seriousness of study which cannot be gleaned from his published work alone.6 The present lecture about art lovers ancient and modem shows his typical speculative nature as it was geared to a broader audience outside the walls of academia.Alois Riegl, 'Uber antike und moderne Kunstfreunde Vortrag gehalten in der Gesellschaft der Wiener Kunstfreunde' - translationOur organizations and clubs are among the most striking phenomena of modem life. What is the reason for this, and what is the nature of this compulsion? The answer is that there is a community of interest. A group of people arrive at the same activity and consider it profitable to pursue the same goal together. …" @default.
• W293661431 created "2016-06-24" @default.
• W293661431 creator A5014905948 @default.
• W293661431 date "2013-12-01" @default.
• W293661431 modified "2023-09-26" @default.
• W293661431 title "Alois Riegl, 'Lovers of Art, Ancient and Modern'" @default.
• W293661431 hasPublicationYear "2013" @default.
• W293661431 type Work @default.
• W293661431 sameAs 293661431 @default.
• W293661431 citedByCount "0" @default.
• W293661431 crossrefType "journal-article" @default.
• W293661431 hasAuthorship W293661431A5014905948 @default.
• W293661431 hasConcept C107038049 @default.
• W293661431 hasConcept C111472728 @default.
• W293661431 hasConcept C138885662 @default.
• W293661431 hasConcept C142362112 @default.
• W293661431 hasConcept C161191863 @default.
• W293661431 hasConcept C166957645 @default.
• W293661431 hasConcept C2777855551 @default.
• W293661431 hasConcept C2779343474 @default.
• W293661431 hasConcept C2781291010 @default.
• W293661431 hasConcept C32506930 @default.
• W293661431 hasConcept C41008148 @default.
• W293661431 hasConcept C52119013 @default.
• W293661431 hasConcept C95457728 @default.
• W293661431 hasConceptScore W293661431C107038049 @default.
• W293661431 hasConceptScore W293661431C111472728 @default.
• W293661431 hasConceptScore W293661431C138885662 @default.
• W293661431 hasConceptScore W293661431C142362112 @default.
• W293661431 hasConceptScore W293661431C161191863 @default.
• W293661431 hasConceptScore W293661431C166957645 @default.
• W293661431 hasConceptScore W293661431C2777855551 @default.
• W293661431 hasConceptScore W293661431C2779343474 @default.
• W293661431 hasConceptScore W293661431C2781291010 @default.
• W293661431 hasConceptScore W293661431C32506930 @default.
• W293661431 hasConceptScore W293661431C41008148 @default.
• W293661431 hasConceptScore W293661431C52119013 @default.
• W293661431 hasConceptScore W293661431C95457728 @default.
• W293661431 hasIssue "9" @default.
• W293661431 hasLocation W2936614311 @default.
• W293661431 hasOpenAccess W293661431 @default.
• W293661431 hasPrimaryLocation W2936614311 @default.
• W293661431 hasRelatedWork W1124395573 @default.
• W293661431 hasRelatedWork W1516613978 @default.
• W293661431 hasRelatedWork W188256692 @default.
• W293661431 hasRelatedWork W1978360272 @default.
• W293661431 hasRelatedWork W2023217073 @default.
• W293661431 hasRelatedWork W2030773960 @default.
• W293661431 hasRelatedWork W2068342274 @default.
• W293661431 hasRelatedWork W2079114255 @default.
• W293661431 hasRelatedWork W2101502609 @default.
• W293661431 hasRelatedWork W2119436177 @default.
• W293661431 hasRelatedWork W2154253284 @default.
• W293661431 hasRelatedWork W228173460 @default.
• W293661431 hasRelatedWork W2314518084 @default.
• W293661431 hasRelatedWork W3203046036 @default.
• W293661431 hasRelatedWork W414306338 @default.
• W293661431 hasRelatedWork W600738857 @default.
• W293661431 hasRelatedWork W602107500 @default.
• W293661431 hasRelatedWork W897003639 @default.
• W293661431 hasRelatedWork W995647954 @default.
• W293661431 hasRelatedWork W3149688474 @default.
• W293661431 isParatext "false" @default.
• W293661431 isRetracted "false" @default.
• W293661431 magId "293661431" @default.
• W293661431 workType "article" @default.