Alois Riegl In Vienna 1875 905

In Alois Riegl in Vienna 1875-1905: An Institutional Biography, 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. Further, the author compares Riegl?s work to several of the early works of Friedrich Nietzsche that Riegl is known to have read before 1878. 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-si?e that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century, an epoch of innovation, culture wars and political uncertainty. The book is particularly devoted to explaining how Riegl?s theories of art were shaped by debates outside the purview of the academic art historian. Its focal point is the Austrian Museum for Art and Industry, where he worked for 13 years, and it presents a new interpretation of Riegl based upon his early exposure to Nietzsche.

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.

"In Alois Riegl in Vienna 1875-1905: An Institutional Biography, 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. Further, the author compares Riegl's work to several of the early works of Friedrich Nietzsche that Riegl is known to have read before 1878. 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-si'e that demonstrates his close relationship to several of the significant actors in Vienna at the end of the nineteenth century, an epoch of innovation, culture wars and political uncertainty. The book is particularly devoted to explaining how Riegl's theories of art were shaped by debates outside the purview of the academic art historian. Its focal point is the Austrian Museum for Art and Industry, where he worked for 13 years, and it presents a new interpretation of Riegl based upon his early exposure to Nietzsche."--Provided by publisher.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.

Presents a revision of the late Columbia University art historian's lectures given at Indiana University in 1961.

Ginzburg, "the preeminent Italian historian of his generation [who] helped create the genre of microhistory" ("New York Times"), ruminates on how perspective affects what we see and understand. 26 illustrations.