Alois Riegl

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Riegl, Alois


Born Jan. 14, 1858, in Linz; died June 17, 1905, in Vienna. Austrian art historian.

Riegl became a professor at the University of Vienna in 1897. He represented the Vienna school of art studies. His polemic against G. Semper’s theory that material was the key element determining the laws of forms had a great influence on the development of Riegl’s views. Riegl rejected the normative view that was characteristic of 19th-century art studies, which interpreted art history as a sequence of periods of decline and progress evolving toward a common ideal. He advanced the concept of an immanent artistic will that determined the characteristic features of each artistic era, including periods of haptic (flat, tactile) and optical (three-dimensional) treatment of form. Despite the idealism of Riegl’s hypotheses, his theory led to the development of more varied techniques for analyzing artistic form.


Die spätrömische Kunstindustrie, vols. 1–2. Vienna, 1901–23.
Das holländische Gruppenporträt. [Vienna] 1902.
Gesammelte Aufsätze. Augsburg-Vienna, 1929.


Istoriia evropeiskogo iskusstvoznaniia: Vtoraia polovina XIX v.—nachalo XX v., book 1. Moscow, 1969. Pages 65–73.
Piwocki, K. Pierwsza nowoczesna teoria sztuki: Pogla̧dy Aloisa Riegla. Warsaw, 1970.
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For instance, in analyzing the Humbabahead orthostats (here conflated into one) from Tell al Rimah through the formalist methodology of Alois Riegl, Steymans avoids engaging with the scholarship of David Oates, Marie-Therese Barrelet, Theresa Howard Carter, and others on the original context and function of these reliefs.
Alois Riegl opens his 1899 essay "Die Stimmung als Inhalt der modernen Kunst" by evoking the mechanisms of landscape.
Masheck's first essay is on the notoriously difficult work of the art historian Alois Riegl (1858-1905), and in particular his Historical Grammar of the Visual Arts and the 'spiritual conceptual' purpose of art.
Alois Riegl, Stilfragen: Grundlegungen zu einer Geschichte der Ornamentik (1893), repr.
And this was the underlying idea of curator Philippe-Alain Michaud, who conceived "Tapis volants" while visiting the textile collection (installed by art historian Alois Riegl in the late-nineteenth century) of the MAK Vienna: Austrian Museum of Applied Arts/Contemporary Art.
He includes Paul Frankl, Otto von Simson, Aby Warburg, Eugene Viollet-le-Duc and Meyer Schapiro in his explication of Gothic interpretations alongside less expected figures including Mies van der Rohe and Alois Riegl, the latter of which are treated in the section on 'Ornament, Style and Space'.
Conservation and preservation; interactions between theory and practice; in memoriam Alois Riegl (1858-1905); proceedings.
The Austrian Alois Riegl (1858-1905) was one of the founders of art history as a discipline and the first exponent of "haptic" seeing in art, a more modern term for which would be "embodied perception".
The field of art history was and is heavily influenced by the thinker Alois Riegl and a new translation of one of his books is a welcome event.
A few decades later, the Austrian curator Alois Riegl, building upon research by his Brooklyn counterpart, William Goodyear, treated decoration with all of the seriousness of the other marginal art forms he wrote about--Dutch group portraits, late-Roman art, and the Roman baroque.
Their chief intellectual inspiration was another Austrian, Alois Riegl (1858-1905), whose idea of Kunstwollen--"art will" or "art impulse"--was one of those omnivorous explanatory concepts that set susceptible academic hearts beating faster for two or three generations.
In Der moderne Denkmalkultus [the Modern Cult of the Monument], published in 1903 when preservation policies were being established in the late Habsburg Empire, the Viennese art historian Alois Riegl assigns a wide range of meaning to the monuments, voluntary or unvoluntary (gewollt or ungewollt).