Max Dvorák: art history and the crisis of modernity

Hdl Handle:
http://hdl.handle.net/10149/58504
Title:
Max Dvorák: art history and the crisis of modernity
Authors:
Rampley, M. (Matthew)
Affiliation:
Edinburgh College of Art
Citation:
Rampley, M. (2003) 'Max Dvorák: art history and the crisis of modernity', Art History, 26 (2), pp.214-237.
Publisher:
Wiley-Blackwell
Journal:
Art History
Issue Date:
Apr-2003
URI:
http://hdl.handle.net/10149/58504
DOI:
10.1111/j.0141-6790.2003.02602010.x
Abstract:
The work of Max Dvořák has seldom enjoyed the acclaim accorded to that of his Viennese colleague Alois Riegl, or contemporaries such as Aby Warburg and Heinrich Wölfflin. This paper argues for a reconsideration of his work, in which his 'art history as the history of ideas' is seen both as a lens through which Dvořák conducted a sustained commentary on the present, and also as a critique of modernity comparable to the social and economic theories of Ernst Troeltsch, Ferdinand Tönnies, Georg Simmel or Ernst Mach. The article argues that Dvořák's work offers an important example of the numerous intellectual and political tensions at work in the final years of the Habsburg monarchy. As such, the article aims to question the institutional frame within which much art-historical writing is often analysed.
Type:
Article
Keywords:
Dvořák, Max; art history; modernity
ISSN:
0141-6790
Rights:
Subject to restrictions, author can archive post-print (ie final draft post-refereeing). For full details see http://www.sherpa.ac.uk/romeo/ [Accessed 15/01/2010]
Citation Count:
0 [Web of Science and Scopus, 15/01/2010]

Full metadata record

DC FieldValue Language
dc.contributor.authorRampley, M. (Matthew)-
dc.date.accessioned2009-04-01T10:53:44Z-
dc.date.available2009-04-01T10:53:44Z-
dc.date.issued2003-04-
dc.identifier.citationArt History; 26 (2): 214-237-
dc.identifier.issn0141-6790-
dc.identifier.doi10.1111/j.0141-6790.2003.02602010.x-
dc.identifier.urihttp://hdl.handle.net/10149/58504-
dc.description.abstractThe work of Max Dvořák has seldom enjoyed the acclaim accorded to that of his Viennese colleague Alois Riegl, or contemporaries such as Aby Warburg and Heinrich Wölfflin. This paper argues for a reconsideration of his work, in which his 'art history as the history of ideas' is seen both as a lens through which Dvořák conducted a sustained commentary on the present, and also as a critique of modernity comparable to the social and economic theories of Ernst Troeltsch, Ferdinand Tönnies, Georg Simmel or Ernst Mach. The article argues that Dvořák's work offers an important example of the numerous intellectual and political tensions at work in the final years of the Habsburg monarchy. As such, the article aims to question the institutional frame within which much art-historical writing is often analysed.-
dc.publisherWiley-Blackwell-
dc.rightsSubject to restrictions, author can archive post-print (ie final draft post-refereeing). For full details see http://www.sherpa.ac.uk/romeo/ [Accessed 15/01/2010]-
dc.subjectDvořák, Max-
dc.subjectart history-
dc.subjectmodernity-
dc.titleMax Dvorák: art history and the crisis of modernity-
dc.typeArticle-
dc.contributor.departmentEdinburgh College of Art-
dc.identifier.journalArt History-
ref.assessmentRAE 2008-
ref.citationcount0 [Web of Science and Scopus, 15/01/2010]-
or.citation.harvardRampley, M. (2003) 'Max Dvorák: art history and the crisis of modernity', Art History, 26 (2), pp.214-237.-
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