In Alois Riegl in Vienna 1875-1905, Diana Cordileone applies standard methods of cultural and intellectual history for close readings of Riegl’s published texts, several of which are still unavailable in English. Using archival and other primary sources this study also illuminates the institutional conflicts and imperatives that shaped Riegl’s oeuvre. The result is a multi-layered philosophical, cultural and institutional history of this art historian’s work of the fin-de-siècle that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century.
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists’ rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cézanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist’s body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art.
Using empathy, as established by the Vienna School of Art History, complemented by insights on how the mind processes visual stimuli, as demonstrated by late 19th-century psychologists and art theorists, this book puts forward an innovative interpretative method of decoding the forms and spaces of Modern buildings. It proposes that Modern architecture is too diverse to be reduced to a few common formal or ornamental features. Instead, by relying on the viewer’s innate psycho-physiological perceptive abilities, the sensual and intuitive understandings of composition, form, and space are emphasized.
Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694–1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette’s career, this book examines the material practices and networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on unpublished archival material as well as on histories of science, publishing and collecting, this book shows how Mariette and his colleagues’ interpretations of graphic arts gave rise to new conceptions of artistic authorship.
In the mid-1880s, an influential British architectural journal published an article characterizing Renaissance architecture as a corruption of classical architecture. By the turn of the century, however, the same journal praised the Renaissance architect Filippo Brunelleschi as the ‘Christopher Columbus of modern architecture.’ Relevant for architectural historians, literary scholars and those in Victorian studies, this book examines the conflicting late nineteenth-century characterizations of Renaissance architecture and reassesses them within the formation of a modern, British architectural profession.
This volume introduces the Latvian artist and champion of artistic change in early twentieth-century Russia, Voldemārs Matvejs (Vladimir Markov), as a pioneering art photographer and assembles for the first time five of his most important essays. This book challenges hardening narratives of primitivism by reexamining the enthusiasm for world art in the early modern period from the perspective of Russia rather than Western Europe. The book will appeal to students of modernism, orientalism, ‘primitivism,’ historiography, African art, and the history of the photography of sculpture.
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