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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Politics and Culture [New York: The journal was entitled Mittei- lungen der k.

At the turn of the twentieth century, the commission thr a series of studies for the next phase of work. It advocates restoration and opposes age-value. Two versions of the essay were published in Our modern view, writes Riegl, rejects the notion of an objectively valid canon because it is based on relative perception.

Alois Riegl and the Modern Cult of the Monument | ERA Architects

Anthropology of the Built Environment: According to nineteenth century views, there was something of the eternal canon in every type of art; therefore each artifact deserved both perpetual conservation for the benefit of our aesthetic satisfaction… Age-value monuments Cukt ineteenth century laws were all tailored to the notion that the unintentional monument possessed only a historical value: Here lies the real strength of the museum as opposed to, say, the theme park or the illustrated publication, especially in an age that still values greatly history and authenticity but in which virtual realities and vicarious experiences are rirgl commonplace.

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Ever larger and more complex objects—vernacular building types, neighborhoods, and landscapes—are treated according to the same museological standards once reserved for monuments and art objects.

Leave a Reply Click here to cancel reply. Riegl understood art history as the history of perception: The goal of a law for the preservation of monuments in Austria is therefore the protection of age value modernn monuments, not only against injustice and bad faith, but against the other competing values, especially against contemporary values.

Alois Riegl The Modern Cult of Monuments. Its Character and its Origin.

Riegl defines the monument as an artefact that retains in itself, intentionally or unintentionally, an element of the past — a definition which effectively encompasses any object resulting from human activity. The site of the former episcopium, believed to have been destroyed by arson in More recently, David Phillips has remarked that authenticity is dependent upon attribution, conservation and display and is therefore subject to the changes in dominant taste and practice in all these areas.

Zone Book, MIT Press,3— Have you read this? Themes are examined at all scales, from the global and regional to the microscopic and material.

Yet Riegl approached these layered and highly complex sites with the sensibility of the curator. His attempt to write a history of subjectivity through an ostensibly objective or empirical method mirrored contemporary efforts in aesthetics and psychology.

Assuming that replicas are generally made from deteriorated objects, is it possible to ensure that they are created without any degree of re-interpretation?

Alois Riegl and the Modern Cult of the Monument

But there is a catch. This seems a frequent occurrence in our culture, which values age, documentary significance and aesthetic quality to similar degrees. More generally, we ought to ask ourselves if the replica is what the public wants to see when the original is no longer exhibitable.

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I would propose that the intention to create replicas suggests an emphasis on use-value which reflects, as we shall see, current trends in museological thought. In the nineteenth century, art history had been told through the lens of universal ideals of beauty and aesthetics: On the notion rieyl Kunstwollen and its relationship to history and temporality, see M.

Riegl disputed this view: But is it possible to conduct this amount of research for every work to be replicated? Intentional monuments — Intentional commemorative value aims to preserve a moment in the consciousness of later generations Unintentional monuments historical monuments — The historical value of a monument arises from the particular, individual stage it represents in the development of human activity in a certain field.

With its aspiration to an eternal present, the intentional commemorative-value is closely linked with present-day values. Log In Sign Up. 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 off rebuilding of the city.

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