Halt today. When we speak of the modern cult of monuments or historic From Alois RIEGL, Gesammelte Aufsätze (Augsberg, Vienna: Dr. Benno Filser Verlag. The Venice Charter reaffirmed the historicist principles of the Athens Charter , recasting them in terms of universal values. Since then, critics of the. The Modern Cult of Monuments: Its Character and Its Origin. . Translated by Kurt W. Forster and Diane Ghirardo. Word Count: 2, Source: Aloïs Riegl.


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View freely available titles: This process has, in effect, frozen large swathes of the built environment in time—a situation that is unsustainable in cultural, social, riegl modern cult of monuments economic terms. This tremendously influential essay is generally seen as the beginning of the modern approach to monuments.

It is generally, but not always, incompatible with age-value; art-value, which is sub-divided into: Riegl suggests that there are instances in which different values can coexist within the same work and others in which they may clash.

Modern Cult of Monuments: Its Character and Its Origin - Alois Riegl - Google книги

A useful example, here, is that of the aspiration to combine historical and newness-value, in other words a situation in which a historical object is wanted in its pristine condition, without any degradation caused by the passage riegl modern cult of monuments time.

This seems a frequent occurrence in our culture, which values age, documentary significance and aesthetic quality to similar degrees. Replication represents a possible strategy to deal with this conflict. In his discussion of historical-value, Riegl notes that it is the one value that might invoke recreation or replication, provided that the original remains untouched to preserve its documentary integrity.


He also remarks that over time the replica may itself acquire historical-value, especially in the case of the loss of the original, but it must always remain a simple aid to research, and should never be presented as a substitute for the original with historical and aesthetic value.

To do this, some broader issues need taking into account. Key points, for instance, riegl modern cult of monuments the values that an art work can acquire when it enters a public collection and, closely tied with that, the currently prevailing views over riegl modern cult of monuments social role of the art museum.

I would propose that the intention to create replicas suggests an emphasis on use-value which reflects, as we shall see, current trends in museological thought. This poses the question of its possible uses and users.

But since we are discussing art works, the emphasis on use dovetails with that on art-value, and in particular newness. From this perspective, the replica could cater for our aesthetic needs, showing the sculpture in its intended condition.

The original, though unusable for display purposes, would retain the all-important documentary value and should obviously be preserved. However, as we have seen, after its creation the replica itself acquires historical and age-value.

Alois Riegl and the Modern Cult of the Monument

Intentional monuments All of antiquity and the Middle Ages knew only intentional monuments Unintentional monuments historical monuments The nineteenth century not only dramatically riegl modern cult of monuments appreciation of historical value, but it also sought to give it legal protection… This in turn gave rise to an unprecedented surge of art-historical research.

According to nineteenth century views, there was something of the eternal canon in every type of art; therefore each artifact deserved both perpetual conservation for the benefit of our aesthetic satisfaction… Age-value monuments Nineteenth century laws were all tailored to the notion that the unintentional monument possessed only a historical riegl modern cult of monuments Newness-value — Generally only new and whole things tend to be considered beautiful, and faded are thought to be ugly.

Humans innately value youth over age.