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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To state this in other words, in terms of age value all monuments are equal.

From the very beginning, it seems, there was a tendency to separate the introductory, theoretical preamble from the legislative provisions that followed it. Ever larger and more complex objects—vernacular building types, neighborhoods, and landscapes—are treated according to the same museological standards once reserved for monuments and art objects.

Replication represents a possible strategy to deal monumens this conflict. For Riegl, the modern cult of monuments challenged the notion of private property, as it had for Ruskin and Morris. A project to catalogue more than sixty boxes of archival material related to the artist Naum Gabo.

Informed by his training in law and art history and by his experience mdoern a museum curator, it is a carefully crafted treatise with a practical aim: It makes it easy to scan through your lists and keep track of progress. Riegl sided with the members of the Secession who opposed the restoration, but did so in a balanced and diplomatic way—identifying the various values and interests of all parties concerned.

Our modern view, writes Riegl, rejects the notion of an objectively valid canon because it tye based on relative perception.

This is particularly important in relation to the problem identified by Cesare Brandi as the interference of the conservator with the creative process. Leave a Reply Click here monhments cancel reply.


Alois Riegl and the Modern Cult of the Monument

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 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. 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. Cataloguing and disseminating Naum Gabo’s archives A project to catalogue more than sixty boxes of archival material related to the artist Naum Gabo.

Would their presence reinforce hte sense of precariousness by highlighting the loss of the original or would it, instead, emphasise our desire to fight it? This poses the question of its possible uses and users.

From this we can deduce two principles of protective legislation: Each issue is dedicated to a particular theme as a method to promote critical discourse on contemporary conservation issues from multiple perspectives both within the field and across disciplines.

It is generally, but not always, incompatible with age-value ; art-valuewhich is sub-divided into: Anthropology of the Built Environment: As Kurt Forster describes: This item appears on List: If so, should this stop us from replicating? Denslagen describes the new consensus tye restoration in German-speaking countries circa Architectural Restoration in Western Europe: It is deeper than fashion, and refers to the shared, intrinsic societal belief structure as it is connected to artistic and monumens production.

It advocates restoration and opposes age-value. Or are we to lower the standards of research where resources may not be available?

Some consideration should also be given to the life of the replica after its creation. 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.



He identifies two main categories: Memory values pertain to the satisfaction of psychological and intellectual needs. Centre Georges Pompidou,46— 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 an essentially utilitarian approach.

The modern cult of monuments: its character and its origins | University College London

But his law eliminated the role of subjective judgment—legislating the protection of nonuments tures solely on the basis of age. Jarzombek, The Psychologizing of Modernity, On the one hand, we have an art whose emphasis is on experimentation, ephemerality, exploration of material decadence and rejection of the traditional principles of conservation and collecting. It was reprinted six years later in The Oppositions Reader: Tweet Share 0 LinkedIn 0 Email.

He repeatedly admon- ished art historians to refrain from speculation and aesthetic judgments. This website uses cookies to ensure you get the best experience on our website. Riwgl then, critics of the Venice Charter have attacked many of its premises, in particular, its focus on material authenticity.

Yet, when it comes to art created in the last century, it could be argued that the emphasis on original works and the rejection of replication would serve to highlight the transient and precarious nature of some of its strands. Rather age value is something more subtle and profound: