FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W897003639> ?p ?o ?g. }

• W897003639 startingPage "1" @default.
• W897003639 abstract "Classical archaeology is a field associated more with incremental additions and emendations to a nearly universally known corpus of art and architecture than with bold flights of original thought. At the very least, Guido Kaschnitz made a mark in this tradition by analyzing ancient Roman portraiture as art instead of contenting himself with data for iconography, dates and places of origin. After first studying epigraphy and archaeology in his native Vienna under Eugen Bormann and Emil Reisch with a dissertation about the vases from Kerch, it seems significantly to have been the lectures of Max Dvo?ak which kept alive the questions raised by Alois Riegl in the Spatromische Kunstindustrie and related essays. Kaschnitz will remain a significant figure for having reconciled the original definitions of the history of art to the expanding volume of material and the changing knowledge of perception and reality.1 In a review of the 1927 edition of the Spatromische Kunstindustrie, and in his later lectures he developed Riegl's conception of human creativity as it chooses and to some degree forges expressive possibilities and articulated this position as well as further distinctions quite clearly. One chapter of these lectures which we present here, offers an easily accessible example of his approach in going beyond an exclusively empirical registration of facts and figures.2 The Italian peninsula in prehistory and antiquity offers a particularly appealing area for examining the contentious issue of local, regional and national styles, and aside from such a comprehensive survey, Kaschnitz also made an ambitious study, left unfinished at his death, involving a wide-ranging study of all art around the Mediterranean until the end of antiquity.3Guido Kaschnitz has been badly misrepresented to the English speaking audience as a 'radical formalist' whose work is 'hardly read by classical archaeologists'. His catalogue of ancient sculpture in the Vatican storage rooms is most certainly used by classical archaeologists and no director of the Deutsches Archaologisches Institut in Rome can be said to be ignored by their colleagues.4 A short biographical appreciation was published by his wife, the celebrated novelist and poet Marie-Luise Kaschnitz, and the posthumous collected edition of most of his writings was also well received in North America.5 Other testimonials written upon his death at the age of 67, and the work of his students particularly in the field of Roman portrait busts and sarcophagi record the effect of his publications on those subjects.The questions surrounding Roman art and its relative originality had been among the favorite topics of the earliest Austrian art historians, and the conception of 'structure' emerged in various forms quite early on. Even in his monumental study of ancient Roman art, Franz Wickhoff seems affected by the Impressionism of the period.6 By the time of his later writings, Julius Schlosser identified this as an obsolete intellectual phase and delineated a very idiosyncratically refined neo- idealistic point of view using the term expressionism.7 Then alongside Otto Pacht, Kaschnitz became the person to most consistently develop the ideas of Riegl's Spatromische Kunstindustrie for the following generation. During the period after 1945 when there was something of a general retreat into a flat-footed empiricism, Kaschnitz did not avoid such larger questions as the relation of form to content, the relative quality of art, the local, tribal and national styles and conceptions of space, as well as topics such as the originality in Roman art, which are all inevitably necessary to a larger synthesis. Today, the direction of his work seems as inevitable as the renewed scholarly reassessment of Islamic art which gained momentum during his lifetime. Earlier research and scholarship was bound within narrow chronological constraints, disregarded most of the historical evidence, and had been bound by the Romantic idea of freedom. …" @default.
• W897003639 created "2016-06-24" @default.
• W897003639 creator A5014905948 @default.
• W897003639 date "2014-12-01" @default.
• W897003639 modified "2023-09-26" @default.
• W897003639 title "The Originality of Kaschnitz" @default.
• W897003639 hasPublicationYear "2014" @default.
• W897003639 type Work @default.
• W897003639 sameAs 897003639 @default.
• W897003639 citedByCount "0" @default.
• W897003639 crossrefType "journal-article" @default.
• W897003639 hasAuthorship W897003639A5014905948 @default.
• W897003639 hasConcept C11012388 @default.
• W897003639 hasConcept C123657996 @default.
• W897003639 hasConcept C124952713 @default.
• W897003639 hasConcept C131323648 @default.
• W897003639 hasConcept C142362112 @default.
• W897003639 hasConcept C156270389 @default.
• W897003639 hasConcept C166957645 @default.
• W897003639 hasConcept C17744445 @default.
• W897003639 hasConcept C181399949 @default.
• W897003639 hasConcept C190137741 @default.
• W897003639 hasConcept C199539241 @default.
• W897003639 hasConcept C204852536 @default.
• W897003639 hasConcept C2776950860 @default.
• W897003639 hasConcept C2778120072 @default.
• W897003639 hasConcept C501303744 @default.
• W897003639 hasConcept C52119013 @default.
• W897003639 hasConcept C74916050 @default.
• W897003639 hasConcept C95457728 @default.
• W897003639 hasConceptScore W897003639C11012388 @default.
• W897003639 hasConceptScore W897003639C123657996 @default.
• W897003639 hasConceptScore W897003639C124952713 @default.
• W897003639 hasConceptScore W897003639C131323648 @default.
• W897003639 hasConceptScore W897003639C142362112 @default.
• W897003639 hasConceptScore W897003639C156270389 @default.
• W897003639 hasConceptScore W897003639C166957645 @default.
• W897003639 hasConceptScore W897003639C17744445 @default.
• W897003639 hasConceptScore W897003639C181399949 @default.
• W897003639 hasConceptScore W897003639C190137741 @default.
• W897003639 hasConceptScore W897003639C199539241 @default.
• W897003639 hasConceptScore W897003639C204852536 @default.
• W897003639 hasConceptScore W897003639C2776950860 @default.
• W897003639 hasConceptScore W897003639C2778120072 @default.
• W897003639 hasConceptScore W897003639C501303744 @default.
• W897003639 hasConceptScore W897003639C52119013 @default.
• W897003639 hasConceptScore W897003639C74916050 @default.
• W897003639 hasConceptScore W897003639C95457728 @default.
• W897003639 hasIssue "11" @default.
• W897003639 hasLocation W8970036391 @default.
• W897003639 hasOpenAccess W897003639 @default.
• W897003639 hasPrimaryLocation W8970036391 @default.
• W897003639 hasRelatedWork W1124395573 @default.
• W897003639 hasRelatedWork W1159730524 @default.
• W897003639 hasRelatedWork W124738040 @default.
• W897003639 hasRelatedWork W1516613978 @default.
• W897003639 hasRelatedWork W1527205182 @default.
• W897003639 hasRelatedWork W1763131893 @default.
• W897003639 hasRelatedWork W1783303289 @default.
• W897003639 hasRelatedWork W2119436177 @default.
• W897003639 hasRelatedWork W228173460 @default.
• W897003639 hasRelatedWork W281930447 @default.
• W897003639 hasRelatedWork W2903247365 @default.
• W897003639 hasRelatedWork W293661431 @default.
• W897003639 hasRelatedWork W3195549956 @default.
• W897003639 hasRelatedWork W3203046036 @default.
• W897003639 hasRelatedWork W414306338 @default.
• W897003639 hasRelatedWork W602107500 @default.
• W897003639 hasRelatedWork W792510754 @default.
• W897003639 hasRelatedWork W9481606 @default.
• W897003639 hasRelatedWork W995647954 @default.
• W897003639 hasRelatedWork W2403923738 @default.
• W897003639 isParatext "false" @default.
• W897003639 isRetracted "false" @default.
• W897003639 magId "897003639" @default.
• W897003639 workType "article" @default.