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by Margaret Iversen

Download Alois Riegl: Art History and Theory fb2, epub

ISBN: 0262090309
Author: Margaret Iversen
Language: English
Publisher: The MIT Press; First Edition edition (May 21, 1993)
Pages: 233
Category: History & Criticism
Subcategory: Art
Rating: 4.3
Votes: 132
Size Fb2: 1512 kb
Size ePub: 1795 kb
Size Djvu: 1847 kb
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Riegl, Alois, 1858-1905 - Criticism and interpretation, Art - Historiography.

Riegl, Alois, 1858-1905 - Criticism and interpretation, Art - Historiography. Books for People with Print Disabilities. Trent University Library Donation. Internet Archive Books.

Margaret Iversen is one of the leading international authorities in the field of art theory and contemporary art. Her first book was on one of the founders of Art History as a discipline: Alois Riegl: Art History and Theory (1993). Since then she has continued to write occasionally about the history of art history ('Retrieving Warburg's Tradition'), but has made her main areas of study psychoanaly Margaret Iversen is one of the leading international authorities in the field of art theory and contemporary art.

Alois Riegl was one of the founders of art history as a discipline. This is the first general introduction to the work of the celebrated Austrian who brought complex philosophical considerations to bear on art and its history. Ranging easily over diverse fields and among a large group of thinkers, Margaret Iversen establishes Riegl's relevance to recent critical thinking while clearly delineating his extraordinary critical powers

Art History and Theory. Margaret Iversen is Professor of Art History and Theory at the University of Essex. Her books include Alois Riegl: Art History and Theory and Beyond Pleasure: Freud, Lacan, Barthes.

Art History and Theory.

photography after conceptual art;Art History book, debate - on what is at stake in contemporary photographic art;chapters' original incarnation, two-day session - annual . Alois Riegl : art history and theory, Margaret Iversen.

photography after conceptual art;Art History book, debate - on what is at stake in contemporary photographic art;chapters' original incarnation, two-day session - annual Association of Art Historians conference, at Tate Britain, London, in 2008;remarkable shifts in dominant forms of photography - mainstream contemporary art, opposed to a specialist.

item 1 Alois Riegel : Art History and Theory by Iversen, Margaret-ExLibrary -Alois Riegel : Art . A general introduction to the work of Alois Riegl, who brought complex philosophical considerations to bear on art and its history.

item 1 Alois Riegel : Art History and Theory by Iversen, Margaret-ExLibrary -Alois Riegel : Art History and Theory by Iversen, Margaret-ExLibrary. item 2 Alois Riegel : Art History and Theory by Iversen, Margaret-ExLibrary -Alois Riegel : Art History and Theory by Iversen, Margaret-ExLibrary.

Margaret Olin PROBLEMS OF STYLE: FOUNDATIONS FOR A HISTORY OF ORNAMENT. Alois Riegl, Evelyn Kain," Art Documentation: Journal of the Art Libraries Society of North America 12, no. 4 (Winter 1993): 171-171. Of all published articles, the following were the most read within the past 12 months. The Aura of Materiality: Digital Surrogacy and the Preservation of Photographic Archives. Ensuring the Legacy of Self-Taught and Local Artists: A Collaborative Framework for Preserving Artists’ Archives.

Alois Riegl (1858-1905) was one of the founders of art history as a discipline. Ranging easily over diverse fields and among a large group of thinkers.

Recommend this journal.

Alois Riegl (1858-1905) was one of the founders of art history as a discipline. This is the first general introduction to the work of the celebrated Austrian who brought complex philosophical considerations to bear on art and its history. Ranging easily over diverse fields and among a large group of thinkers, Margaret Iversen establishes Riegl's relevance to recent critical thinking while clearly delineating his extraordinary critical powers. Iversen contextualizes Riegl's thought among the wider cultural crosscurrents of his time, pointing for example to his denunciation of the sub-Semperians and his profound influence on Walter Benjamin. She is equally concerned to relate Riegl's work to contemporary theoretical interests, arguing that he pioneered an approach to art history that took into consideration the role of the spectator. She devotes a chapter to Riegl's theory of spectator/depiction relationships, comparing it with more recent writing on the subject by commentators like Fried, Foucault, and others. In a sympathetic reading of Riegl, Iversen interprets his theory of Kunstwollen or artistic volition, as a concept that ran counter to narrowly empiricist and determinist histories of art that were dominant in his time. She provides extended critical commentary on his most important works, Questions of Style, Late Roman Art Industry, and The Dutch Group Portrait, enriched by explorations of the theoretical background of his systematic art history, including the work of Kant, Hegel, Herbart, and Hildebrand. Iversen also details Erwin Panofsky's early response to Riegl, arguing that Panofsky's search for an authoritative viewpoint collapsed Riegl's multiple typology of style into an art history constructed around a single aesthetic norm.

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