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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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Click here to sign up. Formalism applies not only to the work of art but to the forms under which they are observed E.

Wayne State University Press,— Later historicism remained indebted to Hegel while abandoning the notion of progress C. Some consideration should also be given to the life of the replica after its creation.

The desire to create replicas for display purposes can be interpreted as the result of the museological trend to use collections primarily for educational purposes, with monumnets essentially utilitarian approach.

If so, should this stop us from replicating? Forged from rigl partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Yet few have analyzed this dense and tremendously influential essay in its historical context.

Age-value embraces the indications of decay and entropic pf of natural process of destruction. Your reading intentions are also stored in your profile for mlnuments reference. Denslagen describes the new consensus against restoration in German-speaking countries circa Architectural Restoration in Western Europe: Pennsylvania State University Press, Rather age value is something more subtle and profound: Riegl is perhaps best known for challenging the traditional canon of art history, which saw the classical era as the pinnacle of artistic achievement.

Alois Riegl and the Modern Cult of the Monument

Alos do I set a reading intention To set a reading intention, click through to any list item, and look for the panel on the left hand side: The Venice Charter reaffirmed the historicist principles of the Athens Charterrecasting them in terms of universal values. As Kurt Forster describes:. But Riegl astutely argues that these stages do not succeed one another—rather rhe encompass one another.


For Riegl the quality of rkegl value is produced when the viewing subject contemplates the traces of the old contained in the monument; the value of the monument is thus realized through rielg emotions. But the building itself exists across time: Since then, critics of the Venice Char- ter have attacked many of its premises, in particular, its focus on material authenticity.

Centre Georges Pompidou,46— Death, memory and material culture. Cambridge University Press,92—96; and A. In his discussion of historical-valueRiegl notes that it is the one value that might invoke recreation or replication, provided that the original remains untouched to preserve its documentary integrity.

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

Some members of the commission—including local representatives, as well as the mayor of Split—wanted to demolish all medieval and modern buildings, to fully expose the cathedral and create an open plaza around it. The wider issue, here, is whether replication should be regulated by the same principles governing the conservation of originals, or monumebts different rules should apply.

According to Riegl, there exist three kinds of monuments:. 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.

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The Modern Cult of Replicas: A Rieglian Analysis of Values in Replication – Tate Papers | Tate

This idea corresponds a,ois to the ideas of the mod- ern movement, in which the preservation of historical monuments sometimes went hand in hand with the destruction and rebuilding of the city. On attitudes toward disencumbering, see especially B. I am also thankful to Jonathan Blower for making his recent dissertation and historic images available to me: Mosern you read this? Princeton Architectural Press,— This calls for some considerations about the currently prevailing views over the social role of the art museum.


Humans innately value youth over age. This seems a frequent occurrence in our culture, which values age, documentary significance and aesthetic quality to similar degrees.

Replication represents a possible strategy to deal with this conflict. Nineteenth-century historicism insisted on the historicity of all knowledge and all forms of cognition. The existence of the monument in the present is incidental for Riegl: At the present time the law for the protection of monuments has become in Austria a necessity, since today everyone feels that monuments have acquired age value, any offense to which causes as much pain as the disrespect of religious principles and symbols of faith brings to a believer.

Cambridge University Press, ], Yet few have analyzed this dense and tremendously influential essay in its slois context. The same would be true for perceptions of the monument.

The site of riegp former episcopium, believed to have been destroyed by arson in Intentional monuments — Intentional commemorative value aims to preserve a moment in the monumentts 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.

Clearly, Riegl the curator would have realized that the number of monuments older than sixty years would continue to multiply.