214:, who was appointed in 1909, at the same time as Dvořák, holds a unique position in the history of the Vienna School. He was a vehement opponent of the traditional view of history, in place of which he advocated an anticlassical, antihumanist, and anticlerical outlook. In opposition to the standard view of history, which was centered on ancient Greece and Rome, Strzygowski turned his attention towards the Orient, where he thought he had discovered the traces of an original "Nordic" character, which was superior to the "Mediterranean." As he held such a single-minded point of view, he found himself in irreconcilable opposition to the "orthodox" branch of the Vienna School, in particular to the "arch-humanist" Schlosser, who on his side condemned Strzygowski as the "Attila of art history." The dispute resulted in a complete separation, not only ideological but also physical, so that two art-historical institutes existed within the university without any relationship to each other. As Strzygowski could naturally not allow himself to adopt the methods of his opponents, he devised a tabular method of "
218:," which was supposed to guarantee absolute objectivity, but in hindsight was completely impracticable and clearly intended to justify his abstruse theories. Strzygowski's worldview developed a markedly bizarre, racist tendency that approached Nazi ideology. However, his institute was closed upon his retirement in 1933. Nevertheless, he is to be credited with the expansion of the boundaries of western art history, which he opened to the consideration of non-European cultures. Moreover, his esteem for abstract art, which he understood as uniquely "Nordic," was a step towards an art-historical confrontation with modernity. With all due care, then, Strzygowski may also find his proper place today in the history of the Vienna School.
83:, and in 1852 was appointed as the first professor of art history at the University of Vienna. His greatest concern was to render the aesthetic appreciation of art more objective through giving weight to historical sources and demonstrable facts. He perceived art-historical research as an absolute prerequisite for the elevation of taste and for the improvement of contemporary art. On account of this goal-oriented attitude he became one of the most important protagonists in the historicist movement in Austrian art and architecture.
48:. This school was not actually a dogmatically unified group, but rather an intellectual evolution extending over a number of generations, in which a series of outstanding scholars each built upon the achievements of their forerunners, while contributing their own unique perspectives. Essential elements of this evolution became fundamental for modern art history, even if the individual methods can today no longer claim absolute validity.
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A characteristic trait of the Vienna School was the attempt to put art history on a "scientific" ("wissenschaftlich") basis by distancing art historical judgements from questions of aesthetic preference and taste, and by establishing rigorous concepts of analysis through which all works of art could
134:, who at first continued the tradition of his predecessors. However, Dvořák's interest gradually turned towards issues of content; that is, to precisely those issues that, for Riegl, were not the object of art history. Dvořák, in part influenced by the contemporary
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was appointed as his successor. Schlosser embodied the type of the classical, humanistic scholar, and nourished a deep attachment to the art and culture of Italy throughout his life. He was a close friend of the
Italian philosopher
114:(Professor 1897) furthered his approach, insofar as they developed the methods of comparative stylistic analysis and attempted to avoid all judgements of personal taste. Thus both contributed to the revaluation of the art of
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signified a turning point for the Vienna School. Numerous scholars were forced to emigrate and came into contact with the methodological approaches of other nations, in particular in the Anglo-American world.
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be understood. Nearly all of the important representatives of the Vienna School combined academic careers as university teachers with curatorial activity in museums or with the preservation of monuments.
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263:. Today Werner Hoffmann, who developed the traditions of the school and adapted them for an intellectual engagement with contemporary art, may count as the youngest heir of the Vienna School.
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The concept of a
Viennese "school" of art history was first employed by the Czech art critic and collector Vincenc Kramář in 1910; it attained general currency following articles published by
94:(full professor) of art history at Vienna. He advanced beyond his teacher's program in his advocacy of an autonomous art history and promoted the separation of art history from
243:, where he constructed a synthesis of the previously irreconcilable schools of Schlosser and Strzygowski, now drained of their ideological intransigence. In 1963 two
187:" ("language-history") of the fine arts, which latter embraced the entire spectrum of artistic creation. Among those to emerge from Schlosser's school, besides
367:
L'art et les révolutions, 5: Révolution et évolution de l'histoire de l'art de
Warburg á nos jours. Actes du XXVIIème congrès international d'histoire de l'art
236:
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is considered to have been the "forefather" of the Vienna School. He acquired a profound knowledge of art through private study during the
401:
Die Wiener Schule der
Kunstgeschichte und die Kunst ihrer Zeit. Zum Verhältnis von Methode und Forschungsgegenstand am Beginn der Moderne
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Discourses and
Strategies: The Role of the Vienna School in Shaping Central European Approaches to Art History & Related Discourses
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in 1934. In the following entry it has only been possible to make cursory mention of the most important representatives of the school.
122:, focused on the purely formal qualities of the work of art, and rejected all arguments about content as metaphysical speculation.
322:
Julius von
Schlosser, "Die Wiener Schule der Kunstgeschichte: Rückblick auf ein Säkulum deutscher Gelehrtenarbeit in Österreich,"
235:, a declared Nazi, led the institute throughout the war, and at war's end his career in Vienna likewise came to an end. In 1946,
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Hans
Aurenhammer, "Zäsur oder Kontinuität? Das Wiener Kunsthistorische Institut im Ständestaat und im Nationalsozialismus." In
259:" ("a mecca for medieval art history"), while also offering excellent coverage of post-medieval art through the appointment of
179:, under whose influence he developed an art-historical method based on philological models. He drew a distinction between the "
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After the early deaths of Riegl and
Wickhoff, one of the art-historical positions at the university was filled by
462:
118:, which before then had been despised as a period of decline. Riegl in particular, as an avowed disciple of
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Martin Seiler, "Empirische Motive im Denken und
Forschen der Wiener Schule der Kunstgeschichte." In
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movement in German painting, developed a deep appreciation for the unclassical formal qualities of
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199:, who in the 1930s founded art-historical "structuralism." Their methodology was described by
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Edwin
Lachnit, "Ansätze methodischer Evolution in der Wiener Schule der Kunstgeschichte." In
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Thomas Zaunschirm, "Kunstgeschichte als Geistesgeschichte. Eine andere Wiener Schule". In
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Dagobert Frey, "Bemerkungen zur Wiener Schule der Kunstwissenschaft." In Dagobert Frey,
348:. Akten des XXV. Internationalen Kongresses für Kunstgeschichte 1983, 1 (Vienna, 1984).
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as the "New Vienna School"; it has also been described as the "Second Vienna School."
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This article is substantially based on the equivalent entry in the German Knowledge.
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Karl Johns, ‘Julius von Schlosser, ‘The Vienna school of the history of art (1934)’
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Kunst, Kunsttheorie und Kunstforschung im wissenschaftlichen Diskurs. In memoriam
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146:" ("art history as intellectual history"), found its most committed champions in
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The Vienna School Reader: politics and art historical method in the 1930s
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The Vienna School of Art History. Empire and the Politics of Scholarship
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The first graduate of the Eitelberger's new program in art history was
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H.H. Aurenhammer, "150 Jahre Kunstgeschichte an der Universität Wien."
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369:, Strasbourg, September 1–7, 1989. Strasbourg 1992, pp. 43–52.
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Mitteilungen des Österreichischen Instituts für Geschichtsforschung
255:(a student of Strzygowski). Under the "two Ottos" Vienna became a "
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Homepage of the Institut für Kunstgeschichte, University of Vienna
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355:. Edited by Kristian Sotriffer. Vienna 1982, pp. 162–164.
142:. Dvořák's idealistic method, which would later be termed "
430:("150 years of art history at the University of Vienna.")
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Wien und die Entwicklung der kunsthistorischen Methode
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positions were once more created, and were filled by
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Werner Hofmann, "Was bleibt von der Wiener Schule?"
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Otto Benesch, "Die Wiener kunsthistorische Schule,"
287:, 53). Vienna, Cologne and Weimar 2004, pp. 11-54.
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308:Vincenc Kramář, "Videňská Škola Dějin Umění,"
390:Wiener Schule - Erinnerungen und Perspektiven
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331:Meyer Schapiro, "The New Viennese School,"
281:Wiener Schule. Erinnerung und Perspektiven
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144:Kunstgeschichte als Geistesgeschichte
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257:Mekka der Mittelalterkunstgeschichte
162:Dvořák also died young, and in 1922
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239:assumed leadership of the
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417:. Frankfurt am Main 2014.
317:Österreichische Rundschau
158:Structuralist art history
410:(University Park, 2013).
18:Vienna School of History
16:Not to be confused with
353:Das grössere Österreich
340:Eine Erinnerungsschrift
207:Ideological art history
444:Number 1 December 2009
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372:Christopher S. Wood,
110:(Professor 1891) and
102:Formalist art history
72:Pragmatic art history
463:University of Vienna
164:Julius von Schlosser
126:Idealist art history
106:Thausing's students
61:Julius von Schlosser
46:University of Vienna
303:Selected literature
237:Karl Maria Swoboda
77:Rudolf Eitelberger
406:Matthew Rampley,
376:(New York, 2000).
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177:Romance languages
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458:Art history
413:Ján Bakoš,
310:Volné Směry
226:The era of
148:Hans Tietze
112:Alois Riegl
452:Categories
396:53 (2004).
335:18 (1936).
328:13 (1934).
267:References
253:Otto Demus
249:Otto Pächt
245:Ordinarius
197:Otto Pächt
132:Max Dvořák
120:positivism
96:aesthetics
92:Ordinarius
222:Synthesis
140:Mannerism
30:‹See Tfd›
319:(1920).
312:(1910).
295:Sources
241:Insitut
191:, were
171:and of
81:Vormärz
67:History
228:Nazism
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195:and
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