Inside haptic Modernism: Alois Riegl and Anglo-American art criticism and theory
Introduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a comp...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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December 2023
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| Zusammenfassung: | Introduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a complex and radical reinterpretation of the "optical device" postulated by Riegl, reflecting on the construction of space in Egyptian bas-relief. Since the 1990s, significant new interpretations have been made in the Film Studies field by authors such as Antonia Lant and Noël Burch and, in a more openly subversive, transcultural and gender-based key, by scholars such as Laura U. Marks, Jennifer M. Barker and Giuliana Bruno. Although the research converging in the Film Studies field still needs systematic recognition, this branch of studies is partially known. Otherwise, the adoptions and interpolations this notion has received in contemporary art criticism and historiography still constitute a widely unexplored field. Given this scenario, this contribution aims to trace how the notion of haptic has entered the lexicon of Anglo-American theory and criticism through the modernist period. It will try to record affinities, interpolations, and reinterpretations of the Rieglian model to stress this category’s theoretical malleability and vitality. Through the rediscovery of some forgotten sources, such as Louis Danz’s prodromic study on Picasso Guernica (1937) published in 1941, this study aims at analyzing critically how this notion has been experienced by authors such as Herbert Read and Clement Greenberg, showing how the different genealogies, one aesthesiological and the other psychophysiological (defined by Max Dessoir, Viktor Lowenfeld and Ludwig Münz) intertwined determined two alternative epistemic frameworks. Tracing essays and theories is intended to show how this category has become an eccent |
| Beschreibung: | 1 Online-Ressource (17 Seiten) |
| ISSN: | 2042-4752 |
| DOI: | 10.48352/uobxjah.00004345 |
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| 520 | 3 | |a Introduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a complex and radical reinterpretation of the "optical device" postulated by Riegl, reflecting on the construction of space in Egyptian bas-relief. Since the 1990s, significant new interpretations have been made in the Film Studies field by authors such as Antonia Lant and Noël Burch and, in a more openly subversive, transcultural and gender-based key, by scholars such as Laura U. Marks, Jennifer M. Barker and Giuliana Bruno. Although the research converging in the Film Studies field still needs systematic recognition, this branch of studies is partially known. Otherwise, the adoptions and interpolations this notion has received in contemporary art criticism and historiography still constitute a widely unexplored field. Given this scenario, this contribution aims to trace how the notion of haptic has entered the lexicon of Anglo-American theory and criticism through the modernist period. It will try to record affinities, interpolations, and reinterpretations of the Rieglian model to stress this category’s theoretical malleability and vitality. Through the rediscovery of some forgotten sources, such as Louis Danz’s prodromic study on Picasso Guernica (1937) published in 1941, this study aims at analyzing critically how this notion has been experienced by authors such as Herbert Read and Clement Greenberg, showing how the different genealogies, one aesthesiological and the other psychophysiological (defined by Max Dessoir, Viktor Lowenfeld and Ludwig Münz) intertwined determined two alternative epistemic frameworks. Tracing essays and theories is intended to show how this category has become an eccent | |
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| spelling | Bartalesi, Valentina Verfasser aut Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory Valentina Bartalesi December 2023 1 Online-Ressource (17 Seiten) txt rdacontent c rdamedia cr rdacarrier Introduced in 1902 in response to a polemical article by Strzygowski, the category of haptic formulated by Alois Riegl enjoyed a remarkable critical fortune, exquisitely interdisciplinary, throughout the 20th century and beyond. A critical fortune that, not infrequently, has taken the form of a complex and radical reinterpretation of the "optical device" postulated by Riegl, reflecting on the construction of space in Egyptian bas-relief. Since the 1990s, significant new interpretations have been made in the Film Studies field by authors such as Antonia Lant and Noël Burch and, in a more openly subversive, transcultural and gender-based key, by scholars such as Laura U. Marks, Jennifer M. Barker and Giuliana Bruno. Although the research converging in the Film Studies field still needs systematic recognition, this branch of studies is partially known. Otherwise, the adoptions and interpolations this notion has received in contemporary art criticism and historiography still constitute a widely unexplored field. Given this scenario, this contribution aims to trace how the notion of haptic has entered the lexicon of Anglo-American theory and criticism through the modernist period. It will try to record affinities, interpolations, and reinterpretations of the Rieglian model to stress this category’s theoretical malleability and vitality. Through the rediscovery of some forgotten sources, such as Louis Danz’s prodromic study on Picasso Guernica (1937) published in 1941, this study aims at analyzing critically how this notion has been experienced by authors such as Herbert Read and Clement Greenberg, showing how the different genealogies, one aesthesiological and the other psychophysiological (defined by Max Dessoir, Viktor Lowenfeld and Ludwig Münz) intertwined determined two alternative epistemic frameworks. Tracing essays and theories is intended to show how this category has become an eccent Riegl, Alois 1858-1905 Die spätrömische Kunstindustrie nach den Funden in Oesterreich-Ungarn (DE-588)1131286049 gnd rswk-swf Riegl, Alois 1858-1905 Historische Grammatik der bildenden Künste (DE-588)1131639820 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Methode (DE-588)4038971-6 gnd rswk-swf Kunstwissenschaft (DE-588)4120632-0 gnd rswk-swf Riegl, Alois 1858-1905 Historische Grammatik der bildenden Künste (DE-588)1131639820 u Riegl, Alois 1858-1905 Die spätrömische Kunstindustrie nach den Funden in Oesterreich-Ungarn (DE-588)1131286049 u Kunstwissenschaft (DE-588)4120632-0 s Methode (DE-588)4038971-6 s Rezeption (DE-588)4049716-1 s DE-604 number:29 year:2023 Journal of art historiography Glasgow, 2023 Heft 29 (2023), Supplement 2 (DE-604)BV035944348 2042-4752 (DE-600)2532257-6 https://doi.org/10.48352/uobxjah.00004345 Verlag kostenfrei Volltext |
| spellingShingle | Bartalesi, Valentina Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory Riegl, Alois 1858-1905 Die spätrömische Kunstindustrie nach den Funden in Oesterreich-Ungarn (DE-588)1131286049 gnd Riegl, Alois 1858-1905 Historische Grammatik der bildenden Künste (DE-588)1131639820 gnd Rezeption (DE-588)4049716-1 gnd Methode (DE-588)4038971-6 gnd Kunstwissenschaft (DE-588)4120632-0 gnd |
| subject_GND | (DE-588)1131286049 (DE-588)1131639820 (DE-588)4049716-1 (DE-588)4038971-6 (DE-588)4120632-0 |
| title | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory |
| title_auth | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory |
| title_exact_search | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory |
| title_exact_search_txtP | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory |
| title_full | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory Valentina Bartalesi |
| title_fullStr | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory Valentina Bartalesi |
| title_full_unstemmed | Inside haptic Modernism Alois Riegl and Anglo-American art criticism and theory Valentina Bartalesi |
| title_short | Inside haptic Modernism |
| title_sort | inside haptic modernism alois riegl and anglo american art criticism and theory |
| title_sub | Alois Riegl and Anglo-American art criticism and theory |
| topic | Riegl, Alois 1858-1905 Die spätrömische Kunstindustrie nach den Funden in Oesterreich-Ungarn (DE-588)1131286049 gnd Riegl, Alois 1858-1905 Historische Grammatik der bildenden Künste (DE-588)1131639820 gnd Rezeption (DE-588)4049716-1 gnd Methode (DE-588)4038971-6 gnd Kunstwissenschaft (DE-588)4120632-0 gnd |
| topic_facet | Riegl, Alois 1858-1905 Die spätrömische Kunstindustrie nach den Funden in Oesterreich-Ungarn Riegl, Alois 1858-1905 Historische Grammatik der bildenden Künste Rezeption Methode Kunstwissenschaft |
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