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ARS 2011 1.Pdf 1 ARS 1/201 Ročník / Volume 44 Číslo / Number 1 Ján BAKOŠ Max Dvořák’s Legacy after Ninety Years (3) Myšlienkový odkaz Maxa Dvořáka po deväťdesiatich rokoch I. Edwin LACHNIT Eine idealistische Kulturvision vor hundert Jahren oder der Krieg und die Kunstgeschichte. Ergänzende Bemerkungen zur wissenschaftlichen Genese Max Dvořáks (9) Idealistická kultúrna vízia spred sto rokov alebo vojna a dejiny umenia. Doplňujúce poznámky k vedeckej genéze Maxa Dvořáka Jan BAŽANT Nation and Art. From Miroslav Tyrš to Max Dvořák, and back (15) Národ a umění. Od Miroslava Tyrše k Maxu Dvořákovi, a zpět Wojciech BAŁUS Max Dvořák betrachtet Tintoretto oder über den Manierismus (26) Max Dvořák pozoruje Tintoretta alebo o manierizme II. Sandro SCARROCCHIA Dvořák and the Trend in Monument Care (45) Dvořák a trend v pamiatkovej starostlivosti Géza HAJÓS Max Dvořák und die Heimatschutzbewegung (68) Max Dvořák a hnutie Heimatschutz Jonathan B. BLOWER Max Dvořák, Wilhelm von Bode and (92) Max Dvořák, Wilhelm von Bode a Pamiatky nemeckého umenia III. Richard WOODFIELD Ernst Gombrich and Max Dvořák (125) Ernst Gombrich a Max Dvořák Ján BAKOŠ Artur Rosenauer gave a very true picture of Dvořák’s career: “Was Max Dvořák anlangt, so gewinnt man den Eindruck, dass keiner der anderen Vertreter der Wiener Schule zu Lebzeiten Hörer und Leser so sehr in seinen Bann gezogen hat wie er, dass aber schon wenige Jahre nach seinem Tod die Begeisterung abgekühlt, ja in Skepsis umgeschlagen ist.”1 Both his famous teachers, Franz Wickhoff and Alois Riegl, had chosen Dvořák as their successor. In 1905, he was appointed Extraordinarius and general conservator of Austrian monument protection at the age of thirty-one and in 1909 Ordinarius and head of the art history department at the Vienna University at the age of thirty-five.2 On February 1921, he died unexpectedly at only less than forty-seven years old, before being able to complete his ground-breaking project on the history of European art conceived as the history of ideas. His revolutionary concept be- came widely known after his premature death, thanks to the posthumous publication of his collected works by his pupils K. M. Swoboda and Johannes Wilde.3 It was due to that publication that Dvořák was to become generally acknowledged as the promoter of a new approach to the history of art that would be Max Dvořák (1874 – 1921). Photo: Österreichische National- called Kunstgeschichte als Geistesgeschichte. bibliothek, Wien. 1 ROSENAUER, A.: Das Rätsel der Kunst der Brüder Van 3 DVOŘÁK, M.: Kunstgeschichte als Geistesgeschichte. Studien zur Eyck – Max Dvořák und seine Stellung zu Wickhoff und abendländischen Kunstentwicklung. München 1924; DVOŘÁK, Riegl. In: Wien und die Entwicklung der kunsthistorischen Methode. M.: Das Rätsel der Kunst der Brüder van Eyck. München 1925; Akten des XXV. Internationalen Kongresses für Kunstgeschichte DVOŘÁK, M.: Geschichte der italienischen Kunst im Zeitalter der [1983]. Vol. 1. Wien – Köln – Graz 1984, p. 45. Renaissance. Akademische Vorlesungen. 2 Vols. München 1927 – 1928; DVOŘÁK, M.: Gesammelte Aufsätze zur Kunstgeschichte. 2 SCHLOSSER, J. von: Die Wiener Schule der Kunstgeschichte. München 1929. In: Mitteilungen des Österreichischen Instituts für Geschichtsforschung, 13, 1934, No. 2, pp. 193-195. 3 We know that Dvořák’s approach to the history of history of ideas as a purely scientific undertaking. art took a gradual but radical turn in the second decade Combining retrospective nostalgia with Avant-garde of the 20th century.4 He completely lost his confidence utopia, Dvořák conceived of it as a prophetic vision.8 in nineteenth century optimistic rationalism after the He was convinced that after optimistic rationalism outbreak of World War I. He projected developments and materialism had collapsed in the cataclysm of war in modern art onto the history of art5 and became a new era of idealism and spiritualism must come.9 stimulated by contemporary philosophical thought.6 Dvořák’s prognosis turned out to be nothing As a consequence, he replaced the belief in art as more than wishful thinking. Post-war intellectual a solution of formal problems by the notion of art developments and modern art movements took as an expression of the world outlook of the age, the entirely different paths from those that he had idea of art historical development as a representational predicted. His conception of the history of art as progress with the idea of history as a process hold- the history of ideas consequently became regarded ing irrational breaks and changes in the notion of art as out-of-date as well. He became a figure of an within itself, and belief in a causal-genetic explanation outdated past. Only Austrian and Czech and some of the historical development of art with the method Italian art historians would venerate his legacy of its empathic understanding. Consequently, he re- on the different occasions of his anniversaries.10 cast the history of European art into a permanent Austrian and Czech art historical communities ac- “struggle between spirit and mater”7 resulting in a dialectical knowledged his works mainly for patriotic reasons polarity of naturalism and idealism. However, he did since Dvořák was regarded as one of the key figures not design his project of the history of art as the of modern Austrian as well as Czech art history.11 4 About Dvořák’s turn, see for example BAKOŠ, J.: Die epis- 7 DVOŘÁK, M.: Idealismus und Realismus in der Kunst der Neuzeit. temologische Wende eines Kunsthistorikers. In: L’Art et les Akademische Vorlesungen. Weimar 1994, p. 15; CHADRABA, révolutions. Actes du XXVIIe congrès international d’histoire de l’art. R.: Inedita Maxe Dvořáka [Max Dvořák’s Inedita]. In: Umění, Section 5. Révolution et évolution de l’histoire de l’art de Warburg à nos 19, 1971, No. 6, p. 619; AURENHAMMER 2010 (see in note jours [1989]. Strasbourg 1992, pp. 53-58; AURENHAMMER, 4), p. 305. H. H.: Max Dvořák, Tintoretto und die Moderne. In: Wiener Jahrbuch für Kunstgeschichte, 49, 1996, pp. 9-38; AURENHAM- 8 FREY 1922 (see in note 5), p. 21. MER, H. H.: Max Dvořák und die Revision der Mittelalter- -Kunstgeschichte. In: Die Etablierung und Entwicklung des Faches 9 See about this LACHNIT 2005 (see in note 5), p .96; BAKOŠ, Kunstgeschichte in Deutschland, Polen und Mitteleuropa. Eds. W. J.: Max Dvořák – A Neglected Re-Visionist. In: Wiener BAŁUS – J. WOLAŃSKA. Warszawa 2010, pp. 291-313. Schule. Erinnerungen und Perspektiven (=Wiener Jahrbuch für Kunstgeschichte, 53). Wien – Köln – Weimar 2004, p. 67; 5 See about this FREY, D.: Max Dvořáks Stellung in der Kunst- AURENHAMMER, H. H.: Max Dvořák. In: PFISTERER geschichte. In: Max Dvořák zum Gedächtnis. Wien 1922, p. 19; 2007 (see in note 5), p. 222. SCHLOSSER 1934 (see in note 2), p. 199; LACHNIT, E.: Die Wiener Schule der Kunstgeschichte und die Kunst ihrer Zeit. Zum 10 See Umění, 9, 1961, No. 6; Umění, 19, 1971, No. 6; Österreichische Verhältnis von Methode und Forschungsstand am Beginn der Moderne. Zeitschrift für Kunst und Denkmalpflege, 28, 1974, No. 3. More Wien – Köln – Weimar 2005, p. 94; AURENHAMMER, H. about Italian translations of Dvořák’s works and comments H.: Max Dvořák (1874 – 1921). In: PFISTERER, U. (ed.): by Italian art historians, see bibliography in SCARROCCHIA, Klassiker der Kunstgeschichte. Bd. 1: Von Winckelmann bis Warburg. S.: Max Dvořák. Conservazione e moderno in Austria (1905 – 1921). München 2007, p. 222. Milano 2009, pp. 255-260. 6 BENESCH, O.: Grosse Österreicher. In: Neue Österreichische 11 CHADRABA, R.: Vídeňská škola a český dějepis umění Biographie ab 1815. Vol. 10. Wien 1957, p. 195; NEUMANN, J.: [Vienna School of Art History and Czech Art History]. Dílo Maxe Dvořáka a dnešek [The Work of Max Dvořák and In: CHADRABA, R. et al.: Kapitoly z českého dějepisu umění II the Present]. In: Umění, 9, 1961, No. 6, pp. 550-552 (German [Chapters from Czech Art History II]. Praha 1987, pp. 9-56; trans.: Das Werk Max Dvořáks und die Gegenwart. In: Acta POCHAT, G. – SCHMIDT, G. – VASOLD, G.: Der Beitrag historiae artium, 8, 1962, pp. 177-213); KALINOWSKI, L.: Max der Kunstgeschichte zur Ausformung der Humanwissen- Dvořák i jego metoda badań nad sztuką [Max Dvořák and His schaften. In: ACHAM, K. (ed.): Geschichte der österreichischen Art Historical Method]. Warszawa 1974, chap. “The Origin Humanwissenschaften. Vol. 5. Wien 2003, pp. 403-423. of Dvořák’s Method”, pp. 33-39. 4 The Italian historians of art appreciated him mostly reaction to the hegemony of iconological method. because of his huge contribution to the knowledge Criticizing the intellectual over-interpretation of of Italian art.12 visual art, opponents of iconology emphasized Nevertheless, three attempts were made to revive the everlasting value of a form-genetic approach Dvořák’s legacy in the sixties and early seventies (developed by young Dvořák in such a paradigmatic of the 20th century. The first was motivated by the way in his Das Rätsel der Kunst der Brüder van Eyck) effort to search for the historical roots of mod- considering it as a model of a reliable scientific ern art. Not only his discovery of Mannerism as analysis.16 a kind of proto-Modernism
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