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• W756274507 abstract "The Vienna school and Central European art historyReview of:Jan Bakos, Discourses and strategies: the role of the Vienna School in shaping central European approaches to art history φ related discourses, Frankfurt am Main: Peter Lang, 2013. (Slovak Academy of Sciences, Series of the Slovak Academy of Sciences, 5.)Jan Bakoss latest book is a collection of eight essays that were presented at conferences or came out individually in journals.1 Although they are published unchanged in this volume, the book is coherent and presents an erudite and comprehensive picture of the trends within and the external impact of the Vienna School of art history. The particular value of the book is its engagement with Slavic-language sources, which are often neglected in English- speaking perspectives on central Europe, as well as the author's careful analyses of the concealed political motivations that permeate much of the central European scholarship of the era and are often not obvious to a foreign observer. Bakos is in fact careful to note that 'the zenith of research into the relationship between epistemology and ideology is almost over' (7)-but it is hard to imagine how the theoretical constructs that he is writing about, so profoundly marked by the political and ideological trends of their environments, can be separated from the context that motivated them.The opening essay 'Humanists versus Relativists: Methodological Visions and Revisions within the Vienna School' presents the historical line of the ideas articulated within the Vienna School as a series of intellectual reactions and interactions between its protagonists. The story necessarily starts with Alois Riegl's approach based on the study of formal-artistic solutions, and Max Dvorak's replacement of this model with the understanding of art as an expression of ideas. Julius Schlosser established singular artworks and individual artists as the base of art history in opposition to theories of formal evolution or collective worldviews. Hans Sedlmayr's 1927 programme, as presented in his paper on the quintessence of Riegl's art historical method, revived the reduction of individuals' creativity to their membership of groups. In defining his approach, Sedlmayr relied on the sociological teachings of Alfred Vierkandt, but by the 1930s racially-based versions of collectivist explanations of human creativity became widespread, as one can witness in the works of Josef Strzygowski, Dagobert Frey and Karl Swoboda. Collectivist approaches were under Ernst Gombrich's attack from his very early publications, while Otto Pacht made efforts to revive Riegl's and Dvorak's legacy. In a separate essay Bakos surveys Gombrich's repeated attacks on the collectivist position. (107-122) This essay is a valuable contribution that provides a comprehensive survey of the ways Gombrich conceptualized and criticized collectivist approaches to history writing through his career, from his early critique of 'hypostatized collective personalities', subsequent attacks on 'the intellectual mousetrap of dialectical materialism', the dismissal of the understanding of style as an imaginary super-artist as well as his articulations of the problem of the universality of the human cognitive apparatus.The art history professors who were the main protagonists of the Vienna School were by definition Austro-Hungarian state employees. They had a particular role to perform: to justify, in their field of research, the existence of a state randomly concocted from territories acquired through Hapsburg expansionism, wars and marriages. The Monarchy, Bakos summarises the situation,had to cope with two fatal dilemmas: one, resulting from the conflict between the political dominance of the aristocracy and the growing economic power of the bourgeoisie, and the other one, resulting from the multinational nature of the Empire. (126)The essay 'From Universalism to Nationalism: Transformations of the Vienna School's ideas in Central Europe' describes the ways Viennese art historians endeavoured to adjust their ideology to the interests of the survival of this improbable conglomerate. …" @default.
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• W756274507 date "2014-12-01" @default.
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• W756274507 title "The Vienna School and Central European Art History" @default.
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