Journal of Art Historiography (Dec 2011)
Real Style: Riegl and Early 20th Century Central European Art
Abstract
Originally published in Centropa: Journal of Central European Art and Architecture 5, n. 1 (January 2005): 16-25. Kimberly A. Smith discusses the ways in which the understanding of style was articulated by intellectuals working in the late nineteenth century, primarily in Germany and Austria, and the epistemological repercussions of this shift in thinking for both the theory and practice of central European art in the years before World War I. Smith focuses in particular on the writings of Alois Riegl, in which this approach to thinking about style came to its most influential fruition, and proposes that Riegl’s conception of form had implications for artistic practice. Riegl’s methodological understanding of artistic form drew connections between morphological types and perceptions of reality, thereby altering the ways in which artists could conceive of aesthetic authenticity. Style itself could be seen as the harbinger of truth, opening up the possibility that any style might offer a genuine revelation of the real. Yet as Smith shows, the Rieglian theory of meaningful form may have encouraged an artistic pluralism that subverted the very Kunstwollen theory of historically unified style from which it sprung.
