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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Here, art-historical tropes of continuity and mutation propagated by Alois Riegl and Aby Warburg politicized an international gathering of migration-themed, performance-centric commissions, which deftly invited one to rethink classical notions of innovation and originality.
What I really don't understand is how this overview can do without Alois Riegl, a virtual hinge between Late Roman-into-Byzantine and modern art, who directly derived his notion of 'negative complimentary motifs'--never 'negative space'--from Augustine's notion of evil as privation of the good.
Considerada en ese entonces como vestigios arqueologicos, Westheim la transmuto en arte basandose en el concepto de Voluntad Artistica (Kunstwollen) del austriaco Alois Riegl.
AT LEAST SINCE THE VIENNESE ART historian Alois Riegl coined the term Kunstwollen or "will-to-form" over a century ago, scholars and curators have been increasingly inclined to evaluate works of art in period terms, without regard to aesthetic norms or standards of technical competence transcending particular historical contexts.
Se parte del hecho cierto de que un numero sustancial de intelectuales modernos, entre los mas influyentes en el ambiente actual (Sigmund Freud, Walter Benjamin, Alois Riegl, Michel Foucault, George Bataille, Andre Malraux o Fredric Jameson, por citar solo algunos), han recurrido a metaforas arqueologicas para conformar su pensamiento.
Alois Riegl opens his 1899 essay "Die Stimmung als Inhalt der modernen Kunst" by evoking the mechanisms of landscape.
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.
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 introduction presents a somewhat superficial discussion of form/function and art/craft debates in the context of a simplified characterisation of art history's traditional obsession with the formal aesthetic qualities of art (ignored, for example, are Alois Riegl and Aby Warburg).
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.
The writing of Vienna School theorist Alois Riegl may be useful in interpreting Lissy and differentiating it from similar works by Lohse-Wachtler's contemporaries.
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.