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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Riegl’s Modern Cult of Monuments and the Problem of Value | Michele Lamprakos –

Your reading intentions are also stored in your profile for future reference. On the links between Riegl cukt the avant-garde, see also A. When studied together with the draft law, it is clear that Riegl did not intend for relative values to replace older notions of value, but rather, to supplement them.

This contradiction has led to the current paradox: This process has, in effect, kodern large swathes of the built environment in time—a situation that is unsustainable in cultural, social, and economic terms. Acknowledgements This paper was written as a short discussion document for the Inherent Vice: Historical works have here lost their meaning as tiegl of cilt fabric of time and space and are preserved as emblems of a generalized and superseded past.

Yet Riegl approached these layered and highly complex sites with the sensibility of the curator. Two versions of the essay were published in But there is a catch.

But Riegl astutely argues that these stages do not succeed one another—rather they encompass one another. It promotes the conservation of the monument as new, to honour adequately the event or person it memorialises.

And if, as I suspect, the answer is negative, are we going to replicate only the degraded works rjegl those artists in whom there is an interest and for whom resources are available? An art historian, lawyer, and museum curator, Riegl wrote his essay with a practical aim: The journal was entitled Mittei- lungen der k.


Enter the email address you signed up with movern we’ll email you a reset link. The ongoing interchange between subject and object, between man and his environment, never ends for Riegl the visionary art historian. But for Riegl the curator-conservator, it ends sixty years in the past.

Institute of Art History,46— Cambridge University Press,92—96; and A. Now in the modern era, it is valued for its age, and hence for its emotional appeal to the masses.

For Riegl, the modern cult of monuments challenged the notion of private property, as it had for Ruskin and Morris. Architectural Essays, — Cambridge and London: Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.

A useful example, here, is that of the aspiration to combine historical and newness-valuein other words a situation in which a historical object is wanted in its pristine condition, without any mpnuments caused by the passage of time. Toggle navigation ERA Architects.

Alois Riegl and the Modern Cult of the Monument

Michele Lamprakos unabridged version that appeared under the imprint of the Central Commission. Without cookies your experience may not be seamless. For the wider debate on the question of progress in the arts, see D. Cambridge University Press, ], As Kurt Forster describes: Controversy and Continuity [Amsterdam: The goal of a law for the preservation of monuments in Austria is therefore the protection of age value of monuments, not only against injustice and bad faith, but against the other competing values, especially against contemporary values.

Denslagen describes the new consensus against restoration in German-speaking countries circa Architectural Restoration in Western Europe: I am also thankful to Jonathan Blower for making his recent dissertation monumments historic diegl available to me: I would propose that the intention moderj create replicas suggests an emphasis on use-value which reflects, as we shall see, current trends in museological thought.

Key points, for instance, are the values that an art work can acquire when it enters a public collection and, closely tied with that, the currently prevailing views over the social role of the art museum.

From this perspective the outline of the Gabo project at Tate seems exemplary. When applied mpnuments monuments preservation, however, the material reality of the artifacts made the contradictions evident.


Would their presence reinforce the sense of precariousness by highlighting the loss of the original or would it, instead, emphasise our desire to fight it? Riegl sided with the members of the Secession who opposed the restoration, but did so in mlnuments balanced and diplomatic way—identifying the various values and interests of all parties concerned. The modern cult of monuments: Replication represents a possible strategy to deal with this conflict.

Built on the Johns Hopkins University Campus. Yet only forty years ago this approach seemed acceptable to someone with the expertise of former Tate curator Jim Ede, who commissioned the casts. In contrast to historical value, which links the monument to a particular national style, age value is appreciated by all and thus tran- scends narrow allegiances.

In conclusion, whatever the answers to these questions, I believe that it is fundamental for us to acknowledge that it is our rriegl judgment and taste, and not objective criteria, that drive our choices in conservation and replication. Or should we take the view that this would not be a problem? Does this rule out the use of replicas? Yet in his Project, Riegl argued that age value would render such judgment unnecessary.

The wider issue, here, is whether replication should be regulated by the same principles governing the conservation of originals, or if different rules should apply. This poses the question of its possible uses regl users. This item appears on List: It makes it easy to scan through your lists and keep track of progress. While the latter may allow some concessions to contemporary mojuments newness value, art value, and use valuethese values are generally excluded from the cult of monuments.

Age-value embraces the indications of decay and entropic effects of natural process of destruction.