Alois Riegl's artwork heritage has encouraged thinkers as various as Erwin Panofsky, Georg Lukacs, Walter Benjamin, Paul Feyerabend, Gilles Deleuze, and Félix Guattari. one of many founders of the trendy self-discipline of artwork historical past, Riegl is better recognized for his theories of illustration. but his inquiries into the position of temporality in inventive production-including his argument that artwork conveys a culture's awareness of time-show him to be a extra wide-ranging and influential commentator on historiographical matters than has been formerly said. In Time's seen floor, Michael Gubser offers Riegl's paintings as a sustained exam of the types of temporality and historical past in paintings. Supported by way of a wealthy exploration of Riegl's writings, Gubser argues that Riegl seen works of art as registering historic time visibly in inventive kinds.
Gubser's dialogue of Riegl's educational milieu additionally demanding situations the frequent trust that Austrian modernism followed a self-consciously ahistorical worldview. by means of reading the works of Riegl's professors and co-workers on the collage of Vienna, Gubser exhibits that Riegl's curiosity in temporality, from his early articles on calendar artwork via later volumes at the Roman paintings and Dutch portraiture, healthy right into a wide discourse on time, background, and empiricism that engaged Viennese thinkers reminiscent of the thinker Franz Brentano, the historian Theodor von Sickel, and the paintings historian Franz Wickhoff. through increasing our realizing of Riegl and his highbrow context, Time's noticeable floor demonstrates that Riegl is a pivotal determine in cultural idea and that fin-de-siècle Vienna holds persisted relevance for latest cultural and philosophical debates.
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