The origin of Baroque art in Rome.
Klincksieck| N° d'inventaire | 23790 |
| Format | 15 x 21 |
| Détails | 210 p., paperback. |
| Publication | Paris, 2005 |
| Etat | Nine |
| ISBN | 9782252035290 |
The Origin of Baroque Art in Rome is the posthumous publication (1907) of the notes from a lecture given by Alos Riegl at the University of Vienna in 1898-1899. The great Austrian art historian, who had devoted his lectures from 1897 to 1899 to the Historical Grammar of the Plastic Arts and had just published his Artistic Industry of the Late Empire in 1901, thus appears here in the full maturity of his thought. Having in mind Wlfflin's essay, Renaissance and Baroque (1888), which addresses the same problem, Riegl proposes a more dynamic interpretation of the history of forms, based on the notion, for him, of Kunstwollen (or artistic will).
Proceeding by contrasting polarities, both theoretical and historical, Riegl associates with formal categories psychological categories that are inextricably linked to them as two aspects of the same fundamental attitude. In this perspective, the rise of the Baroque appears as the development in the Italian Kunstwollen of values more specifically characteristic of the Kunstwollen of the North. The play of characterizations by oppositions, where the consciousness of the North is always present in the analysis of the South, as that of the present in the look at the past, is not the least attraction of this penetrating study, rich in exemplary analyses of the Viennese master.
The Origin of Baroque Art in Rome is the posthumous publication (1907) of the notes from a lecture given by Alos Riegl at the University of Vienna in 1898-1899. The great Austrian art historian, who had devoted his lectures from 1897 to 1899 to the Historical Grammar of the Plastic Arts and had just published his Artistic Industry of the Late Empire in 1901, thus appears here in the full maturity of his thought. Having in mind Wlfflin's essay, Renaissance and Baroque (1888), which addresses the same problem, Riegl proposes a more dynamic interpretation of the history of forms, based on the notion, for him, of Kunstwollen (or artistic will).
Proceeding by contrasting polarities, both theoretical and historical, Riegl associates with formal categories psychological categories that are inextricably linked to them as two aspects of the same fundamental attitude. In this perspective, the rise of the Baroque appears as the development in the Italian Kunstwollen of values more specifically characteristic of the Kunstwollen of the North. The play of characterizations by oppositions, where the consciousness of the North is always present in the analysis of the South, as that of the present in the look at the past, is not the least attraction of this penetrating study, rich in exemplary analyses of the Viennese master.