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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Rather age value is something more subtle and profound: 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. 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 modernn and create an open plaza around it.

On the links between Riegl and the avant-garde, see also A. The same would be true for perceptions of the monument. He argued that the building exhibited commemorative, art historical, and age value in varying degrees.

Project MUSE – Riegl’s “Modern Cult of Monuments” and The Problem of Value

Architectural Essays, — Cambridge and Lon- don: But the building itself exists across time: Alois Riegl was an Austrian art-historian and philosopher. However, as we have seen, after its riebl the replica itself acquires historical and age-value.

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

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 and rebuilding of the city.

In this position, Riegl was charged with the institutional restructuring of the protection of monuments. Death, memory and material culture.

It is deeper than fashion, and refers to the shared, intrinsic societal belief structure as it is connected to artistic and cultural production. Now in the modern era, it is valued for its age, and hence for its emotional appeal to the masses. This calls for some considerations about the currently prevailing views over the social role of the art museum.

But it also echoes the ideas of his contemporaries in the Austrian Secession. He identifies two main categories: Replication represents a possible strategy to deal with this conflict. At the center, just south of the cardo, stood a peristyle, the ceremonial heart of the palace. Informed by his training in law and art history and by his experience as a museum curator, it is a carefully crafted treatise with a practical aim: How can this be achieved?

Your reading intentions are private to you and will not be shown to other users. Institute of Art History,46— 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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While each age has its own mode mknuments artistic representation, it may include modes from previous eras. But for Riegl the curator-conservator, it ends sixty years in the past. Yet Riegl approached these layered and highly complex sites with the sensibility of the curator.

Alois Riegl and the Modern Cult of the Monument

Informed by his training in law and art history and by his experience as a museum curator, it is a carefully crafted treatise with a practical aim: Michele Lamprakos unabridged version that appeared under the imprint of the Central Commission. While the latter may allow some concessions to contemporary values newness value, art value, and use valuethese values are generally excluded from the cult of monuments.

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. An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: Click here to sign up.

Tate Papers ISSN is a peer-reviewed research journal that publishes articles on British and modern international art, and on museum practice today. From this we can deduce two principles of protective legislation: Cambridge University Press, ], We are living with the results.

This paper was written as a short discussion document for the Inherent Vice: