406 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014JÁN BAKOŠ INSTITUTE OF ART HISTORY OF SLOVAK ACADEMY OF SCIENCES, BRATISLAVA Otto Pächt and Albert Kutal: Methodological Parallels* The relevancy of the evolutionary approach significance’.4 As is evident, the statements by these two Brno and Vienna based professors of art history In 1971, on the 50th anniversary of the death of Max display a belief that Dvořák’s methodological approach, Dvořák, the sixth issue of Umění published a number stemming from an era when evolutionary art history of articles in his memory. One of these was a piece by had not yet been superseded by art history as the history an outstanding Czech medievalist and professor at the of Geist (the history of ideas or human mind), was still University in Brno, Albert Kutal. In it Kutal expressed highly relevant in the 1970s. Kutal focused primarily the belief that ‘generally, and on many in-depth research on Dvořák’s Das Rätsel der Kunst der Bruder Van Eyck, questions, Dvořák’s findings are unshaken and remain valid published in 1903, demonstrating the validity of the today’ and then added ‘this relevancy applies to all the stages evolutionary genealogical approach even in cases where it [Dvořák’s work] has undergone, not just the latter which the work was generally considered to be a ration- is generally the focal point today’. Kutal had the following ally inexplicable, mysterious, completely unprepared, to say about the research method Dvořák employed in transcendental historical leap by a genius. While Pächt the early stage of his work: ‘The essence of this method transported the relevancy of Dvořák’s work into an era was the genetic interpretation of an artistic event, where transitioning from a formalistic, evolutionary approach the individual plastic phenomenon is simply a link in an to a conception of art history based on the history of ideas evolutionary chain subordinated to the inexorable law of (or worldviews), which Dvořák formulated in full in his causality … This principle of evolutionary causality … was Idealismus und Naturalismus in der gotischen Skulptur und intended to ensure the objectivity of art history and free it Malerei (1918). Indeed, his article, ‘Über die dringendsten from the inadequacies and errors of the cultural historical Methodischen Erfordernisse der Erziehung zur kunstge- approach…’1 Three years later, in honour of the centenary schichtlichen Forschung’ tends to span both approaches. of the birth of Dvořák — successor to Alois Riegl at the There were two common incentives that led the two University of Vienna and the most important Czech art art historians to highlight the contemporary relevance of historian — the Austrian journal, Wiener Jahrbuch für Dvořák’s work on the pre-‘Geistesgeschichte’ evolutionary Kunstgeschichte, republished Dvořák’s study, ‘Über die art history: First, the desire to mount a defence in favour dringendsten Methodischen Erfordernisse der Erziehung of the autonomy of art history, in which the history of zur Kunstgeschichtlichen Forschung’, which had not been art was seen as the development of form, and where the included in the five published volumes of his selected evolutionary genealogical approach to investigation was works. Other than that the article had only been published considered to be a suitable method of art history, if it were initially in the weekly Die Geisteswissenschaften,2 and then to be a ‘scientific’ discipline. This attempt to emphasize in Czech in Pečírka’s selected works of Dvořák, Dějiny the continued relevance of this position was prompted umění jako dějiny ducha.3 In the foreword, dedicated to by pressure at the time for a heteronomous conception, the republication of Dvořák’s study, Otto Pächt stated primarily that of iconology, which had ambitions of that the article was of ‘the greatest relevance and strategic achieving dominance. However, there was also a trend ‘Kunstgeschichte’ and ‘Kulturgeschichte’ are two scholarship. Not even works of genius or innovation can be considered geted and critical manner. and 1 / Otto Pächt Photo: Institut für Kunstgeschichte der Universität Wien moreover. he relativised the idea of the universality of a global history of art. the interest displayed in it by Czech the previous.’ there is a risk that art history will be ‘subsumed evolutionary chain and identifying its developmental within sociology’. In 1931 Otto Pächt stated that: ‘For neither of distinct academic disciplines insofar as the cultural and them [Riegl and Dvořák] was there any guarantee that art historical processes (‘allgemeine Kulturvorgänge’) and the history would be cultivated as exact “scientific” discipline evolution of art (‘die Entwicklung der Kunst’) are distinct in unless its evolutionary continuity could be demonstrated’. but rather of Dvořák’s study of 1913–1914 thus: ‘Written 60 years ago. which cism and the premise of immanent causality. developing or transforming the stimuli of ideas and. its unceasing nature. The aim of art history. but in a more tar. not just the latter which is generally the focal point today’. The relationship between Dvořák accepted the neo-Kantian ‘ideographic’ them may.9 art history has the status of being an autonomous academic discipline whose ‘true subject’ is artistic form or style (‘die künstlerische Form. The this article has greater relevance and strategic significance identity of a particular piece of work lies in the position today at a time when. Since cultural history thereof for art history knowledge in his ‘Über die and art history are ‘autonomous genetic series of evolution’ dringendsten Methodischen Erfordernisse der Erziehung . This was superseded by the notion of plurality. be one of external influences (‘das concept of historical uniqueness and the consequences Verhältnis eines äusseren Anstosses’).13 nature (‘sind disparater Natur’). and in this sense they are causally linked. Following Riegl. before we have even overcome the dan. are rationally deducible evolutionary chain-links. Dvořák softened his premise of a strictly linear development. justified has often been confused with art history.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 407 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL (‘selbständige genetische Entwicklungsreihe’). is to seek clear distinction between art history and cultural history out developmental paths and reconstruct the evolutionary articulated by Dvořák in his article: ‘The history of art series.6 Pächt was doubtlessly thinking of the position and role.8 which can interact whilst maintaining their own autonomy. The second motivation for Kutal’s and Pächt’s emphasis on the relevance of Dvořák’s evolutionary perspective was to show not only that the evolutionary genealogical research method was a justified and legitimate approach but also that it was indeed the fundamental method for conducting art history research. 2. He ‘applies to all the stages it [Dvořák’s work] has undergone. Pächt explained the relevancy mysterious or inexplicably isolated instances. which European art to be one such evolutionary entity.5 Much like Kutal. as a consequence of the genetic dependence of works of Kutal clearly had in mind the affinity between iconology art and their immanent causal links. it occupies and the role it performs within evolution. der Stil’). then. in his article.10 An evolutionary genealogical approach therefore meant not only that art history was a history of form.11 Nevertheless. He introduced the notion that a number of developmental paths might exist simultaneously. Marxist iconologists. the young Dvořák expressed it thus: ‘Every historical formulation is a link in a specific historical chain of evolution and is conditioned by previous formulations of the same material. moreover. This is the premise and the justification of modern exact scholarship’. saw the continuity of development. and one upon which the specificity and autonomy of art history was based. Riegl and the young Dvořák believed that precisely … has … its own autonomous position within the historical this approach.12 He only ac- for the new social histories of art which had just started knowledged the notion of evolutionary continuity within to take hold in the early 1970s. that its historical transformation was autonomous and immanent. the simultaneous existence of mutually independent cultural circles (‘Kulturkreise’).’7 According to categorising art historiography as rational and exact Dvořák. art historical evolution was continual and universal. One work follows on and Dvořák’s conception of art history as the history of from another. based on visually controllable empiri- disciplines… This is especially true of cultural history. specifically. It is in this sense that we individual cultural entities. but also that 1. considering the history of should understand Kutal’s emphasis on relevancy. ger that iconology might monopolise interpretations of works This can be ascertained by placing the work of art in the of art. he sought to combine. subjective explanation becomes objective of medieval art. The works of art. recognising that in phenomena were expressed in terms of an internal art history knowledge involves an intuitive aspect and evolutionary relationship.27 he proposed causal reconstruction of evolutionary genesis. Pächt argued. the Viennese structuralists rejected and a source of potential historical change. however.35 a theoretical standpoint.28 He shifted from a formalist autonomist evolutionary An approach of this nature. and the ‘principle of a genetic historical understanding’ Dvořák turned to ‘Geistesgeschichte’. along to be penetrated. since While Albert Kutal limited himself to applying an intuitive and empathetic understanding of the work of the evolutionary genealogical method in art history art is embedded in its positioning within the evolution- research.31 The past both Dvořák’s and Riegl’s evolutionism. step-by-step evolution. he continued to consider the concept of (van Eyck’s naturalism had the same problem). evolutionary continuity is not incompat- of their development.29 also enables us to explain historical of ideas or worldviews. was a leading representative of is therefore an important foundation for structural the ‘New’ or ‘Second’ Vienna School. i. which one might call a structural the evolutionary and structuralist approaches. sufficiently demonstrate the developmental continuity24 Nonetheless. evolutionary conception of art history.’36 and that there is a differ- of the evolutionary approach.15 Dvořák ‘dualism’ and the premise of a ‘dynamic [emanating] arrived at this dualism — intuitively conceiving of the from without’. in contrast to the young Dvořák. analysis of individual works of art with an explanation seen like this. he temporally proximal works of art superficially resemble was relying on the premise that only external similarities a leap. as turns of genius (such as the van in inner structure go hand in hand with changes in outward Eych brothers’ art). he decided to eliminate the leaps. (‘Geschehensganzen’) and observe its internal direction.18 Otto Pächt. as well as the is therefore imbued with anticipation of the future.20 Thus he reduced the he also believed that: ‘It is no use trying to impose the image distance between the chain-links in development. Otto Pächt repeatedly considered it from can be considered a reliable method of verification.’38 positioning the work in an uninterrupted evolutionary Indeed. evolutionary tendencies from within Indeed. In his attempt to ration.32 former’s ‘Geistesgeschichte’. He repeatedly emphasised Viennese structuralism platform in Kunstwissenschaftliche that ‘an evolutionary continuum does not necessarily imply Forschungen in 1931. he criticised Dvořák’s conception a gradual. there are evolutionary situations where the most chain. which allows approach to a new expressionist understanding of the for an internal relationship. Previous development is.22 At the same time. In other words. consistently using it to reconstruct the history ary series.21 of a completely uniform evolutionary curve at all costs. he continually strived to fuse a structural that affect the chain-links of development. then. appearance. especially in Gothic sculpture in the explanation. Dvořák tried to explain revolution. analysis. historical evolutionism of the Vienna School. and vice versa. Pächt a ‘history of style’ (‘die Stilgeschichtliche Betrachtung’) tells us.’37 However. rather.’ thus enabling ‘the core of artistic phenomena’ micro-cosmos of the work of art. then it ‘… may be released from its series was superseded by a structural analysis of the isolation. to connect the essentialist ible with artistic innovations that cannot be inferred conception of Viennese structuralism with the traditional from previous development. ‘there are some processes in which an . ‘the evolutionary approach’ Czech lands. essential to new creative possibilities As we know.16 according to Pächt. He ally describe phenomena that presented themselves as recognised that there is a ‘type of evolution in which changes developmental leaps. as we have seen. the evolutionary genealogical reject entirely the evolutionary view of the ‘old’ Vienna explanation and structural analysis of the work of art School. In Pächt’s version. leaps30 as organic. as unscholarly analogising In 1970 Pächt returned to the subject of the that ultimately reduced the work of art to a mere evolutionary approach in his lectures on the meth- worldview document. acknowledged the fact that the historical evolutionary planted by one in which the structure of the work of approach was an excellent basis from which to interpret art was conceived of as a self-sufficient organism.408 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 zur kunstgeschichtlichen Forschung’.33 He was simply a chain-link in development was sup. which was. Pächt believed.e. did not. undergo a symbiosis. Moreover. ence between internal relations and external relations. who. This dualism also suited Pächt.34 The historical evolutionary approach with Hans Sedlmayr.17 The notion that a work of art odological principles of art history in practice.25 Consequently. that is. even where there is no uniqueness of art history phenomena based on a history external similarity.19 In his ‘Die historische Aufgabe Pächt considered it necessary to return to his Michael Pachers’. however. published in the first volume of the critique of linear evolutionism. He departed from the (‘das Prinzip der genetischen Geschichtsauffassung’) to idea of immanent development26 and accepted external be the basis of the history of art as rigorous study 14 determination. and the rational. Instead of this ‘the necessary correction in all critical research’. If a work of art is incorporated into the genealogical method of reconstructing the evolutionary genealogical series. ary phenomena in causal terms. crude attempt to patch up’ the problem. according to Pächt. ‘a rather uniqueness of a work. the intervention of a history of ideas and an ‘exact historically embedded history of style’ to be or worldviews in the development of art. on the one hand. Consequently.23 When Dvořák could not a subjective understanding of historical uniqueness. on the that one should begin from development in its entirety other — when embarking on his ‘Geistesgeschichte’. so given that each approach contains within it the belief but developed into a scepticism (in Kutal’s case) and that it has a particular ability to capture the true essence into an explicit critique (in Pächt’s case) of iconological of art. its proponents were convinced. Pächt viewed art historical previously formulated theological. ‘does not consist in adopting the whole stated that the iconology does not see the creation of or even part of any given vocabulary.ʼ40 form. in the 1950s and 1960s. the ‘most exact’ contemporary art history to medieval art using the premise that a ‘concealed or discipline.51 However. thus. considering this to be world art history congress in Bonn.45 Three years later Otto Pächt’s critical are outwardly very dissimilar. Pächt’s and Kutal’s re.49 was eliminated.’52 He did not therefore consider a stylistic. professor at the The idea that iconology should become a generally University of Vienna and loyal follower of Alois Riegl. raphische Erneuerung’. he predominant method of art history in the post-Second did express the belief that ‘the stylistic approach rested on World War period fully capable of explaining problems the belief that the stylistic data were more reliable guides to in art history. cal methods’. the layer of ‘intrinsic placed on the continuing relevance of Max Dvořák’s evo.60 Iconology. not ontological terms.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 409 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL inwardly consistent process of change leads to products that history of art. as its adherents unabashedly hoped — was the inner meaning. ‘Künstlerische Originalität und ikonog- iconology for the fallibility of its fundamental premise. had radically changed disguised symbolism’44 was generally applicable to the the way the ‘essence and values’ of artistic creations were . Consequently. the meaning of an all. both approaches claim total validity.56 The talk was part of a section for overlooking the specific visual nature of a work on ‘Stilgeschichte und Ikonographie’ chaired by Jan of art and for ignoring its figurative specificity and Białostocki. whereby of Iconology’. autonomous kind of They did not believe it could be considered the same as iconographic research’. planned a priori and is and genealogical research method constituted. it regards it as a conscious projection of As we have seen. He asked himself which. They both doubted iconology was capable of The relatively moderate tone of Pächt’s criticism of verifying the causal relationships between the work iconology changed discernibly eight years later at the 21st of art and the sphere of ideas.54 he remained sceptical calling Dvořák’s evolutionary perspective was not simply as to the possibility of harmonising them. meaning’.41 Iconology — which became the of the art’ to this ‘new type of iconography’.43 this method was extended if not also. In addition. a distinguished iconologist and historian of non-discursivity. the artwork then became an illustration of a priori introduced Aby Warburg as the ‘father of modern iconologi- ideas or simply decoration to support the thinking. Furthermore.42 Originally conceived of on the basis of an ancillary branch to art history. iconology was transformed into a ‘new. since it had its own particular subject owes a ‘wealth of information on the thematic background and research method. of the nature of artistic creation. had become the main. All the more an apology in defence of the specificity of art history. but by decoding the author’s aims and intentions. provide. William S. Otto Pächt. artwork cannot be revealed by analysing its form. to the true character of a work of art than considered by Pächt and Kutal to be a modernised version the most perfect knowledge of its author’s intentions could of cultural history. would surpass how these two diametrically opposed approaches — all previous methodologies owing to the objectivity and iconographic and stylistic — could be aligned. As a consequence. Pächt stated that iconography.’39 ‘True allegiance to tradition. Heckscher. Reviewing iconology according to Pächt. Pächt Pächt believed.47 Hence the meaning of the work of He believed that the notion of evolutionary continuity art is. originally conceived of as published in 1953. above deliberately obscured. They objected to the fact that the iconography and iconology. or philosophical ideas evolutionism in epistemological. (pre-conceptions). It consists in shared questions and shared the philosophical content is directly embodied in visual demands — to which the artist feels obliged to respond. Rather. Early Netherlandish Painting.55 method. and analytical approach to be outdated. according to iconologists. an analysis of renaissance art. formal iconology presented itself as the most scholarly method. the autonomy of art history as an academic discipline.’ review of Panofsky’s book was published.59 Following this. they mainly criticised a talk entitled. Panofsky in his book. he said. Panofsky’s student. which Panofsky originally saw as unintention- lutionary approach and the clear distinction between ally documenting the ‘history of cultural symptoms or ‘Kunstgeschichte’ (art history) and ‘Kulturgeschichte’ “symbols”’ and expressing the ‘essential tendencies of (cultural history) was motivated by a desire to defend the human mind’.53 Since both verifiability of the relations it identified. In response to approaches are based on entirely different conceptions iconology’s claim to total validity.50 Pächt did not deny that art history cultural history.46 In it.58 In his ‘The Genesis which the pre-conceived thinking was poured. design procedure or the work of art as an intuitive process during which expressive technique. applicable art history method was expressed by Erwin presented his critical analysis of iconological method. effective and reliable cognitive instruments. perceiving it like this involves fundamentally altering Panofsky’s original iconology: The We have also seen how the emphasis Pächt and Kutal artwork’s third layer of meaning.57 The first two talks were given content of a work of art was separated from its form and by leading representatives of what were the two main that the creative form was seen as an empty vessel into methodological positions of the time.48 However. where he delivered mere analogising. Czech Academy of Sciences — Josef Ehm seen. Brno Photo: Institute of Art History. that every considered the claim that a new type of ‘iconography or his- truly great work of art was thus automatically innovative tory of symbols’ would capture the essence of a work of art . 140 cm.66 He therefore quence of this conception was. ca.64 a manifestation of the important. 62 He based this on the other words.63 The logical conse.410 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 2 / Pietà. In grasp of the essence of artwork’. limestone Parish Church of St. the ‘new type of iconography’ assumed that the unreflected premise that each exceptional work of art is ‘essence of artistic originality lay in iconographic innovation’. rationally formulable It was precisely this assumption that Pächt considered and iconographically articulable (!) ideas that an artist unjustified. Thomas.65 There are many great historic pieces of art consciously puts into his or her work. 1385 h. which are not iconographically original.61 Pächt characterised this change as an ‘intellectualist and original as far as the iconography was concerned. in Pächt’s view. Pächt and hermeneutic interpretation to identify the philosoph- thought. He also left aside the argument on originality. contradicted the essence of visual art and denied it had the ability to invent. Kutal was was not the complete falsification of iconography. Kutal used a structural important discipline’ was only completely legitimate. Thus the link is not with Panofsky’s iconological Pächt was presumably not aware that his own interpretation of the hidden intellectual meaning of the position in his criticism of iconology was based on an work but with the way in which Riegl and Dvořák deter- unreflected assumption: On the a priori premise that mined the worldview inherent in the figurative form. however. Profesoru Albertu Kutalovi. even critical. He determined the meaning.79 He stopped asking whether it was possible to fuse two contradictory approaches such as a stylistic analysis and an iconological interpretation. that discussed in Bonn.73 The Prague adherents to iconology considered a shift. it is true. Kutal focused on identifying old formalist school acknowledged the superiority of the the place of a work of art in the development so as to iconological method. He was not pinpointing the intent nor the interpretation of the ‘the core of artistic phenomena’. A closer look at Kutal’s talk. Pächt in its formal rendering (the rendering of the figure and believed. reconstruct the evolutionary series and evolutionary convinces us that the opposite was in fact the case. Pächt’s criticism of iconology culminated in a series of lectures he gave at the University of Vienna in the 1970/71 winter term.77 The main affinity between the art history perspectives of Albert Kutal and Otto Pächt lay. It is. which had been the trump card of his criticism at the Bonn congress. without. ‘This intellectual message of the work. the matter’ of works of art.81 The iconological method presupposed not 3 / Albert Kutal Photo: Jaromír Zemina. the genealogy of a new kind of Pietà.78 It was out of this persuasion that the sceptical. was exactly what art history was all about.71 This premise does strengthened Kutal’s belief that the content of an artwork not deny that its origins lie in modern art. as it need not necessarily be interpreted iconologically or by were. Figuration. for the study of the ‘intellectual ideas or subject ical meaning of Pietà. above all in the belief that works of art were non-discursive and non-conceptual in nature. modernism projected onto the history of art. but not looking for the genesis of the thinking or the particu- merely the way in which ‘the limits of iconography’ might lar idea. be considered an iconological interpretation. His subject was ‘Ursprung und Sinn der horizontal. In his monumental history of Czech Gothic his talk as proof that even those who represented the sculpture (published in 1962). Three years later.67 The target of Pächt’s criticism.69 It is suitable only for investigat. was also Albert of Czech Gothic art (published in Czech only in 1972). opinions that both researchers held on iconology grew.68 limiting its ambition to be a complete horizontal Pietà. regarding works of art as mere illustration. Pächt believed. 1975 . His criticism of iconology now focused on the intellectualisa- tion of works of art. letting the reconstruction of the evolutionary context slip into the background. or theological or philosophical plan behind the be determined. however. that is.74 the essence of art is originality and the essence of its Meeting Otto Pächt at the Bonn congress might have historicity is permanent innovation.70 space). in 1967. the philosophical content within it could not Thus. this was a question which he left unanswered in his review of Panofsky’s book on early Netherlandish painting. Kutal. Pietà . however.80 Intellectualisation. Not continuity.76 From that moment on he paid equal is.75 In the synthesis of Czech Gothic art (1972) only was the first major theme in his analysis the cardinal he also presented the structural hermeneutic approach problem of the evolutionary approach — the ‘origin’. but his second attention to analysing the pictorial structure of a work theme was the inner ‘sense’ or ‘meaning’ of a horizontal of art and to reconstructing its evolution and continuity. One of those who read a paper as part of the Kutal completed his work on a comprehensive history ‘Stilgeschichte und Ikonographie’ section.72 deciphering a deliberate rebus. published in samizdat in Kontinuum.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 411 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL to be unjustified. In this work the way he saw formal analysis underwent en Pietà’. sense of the visual or plastic form of the artwork inherent ing ‘external … not internal theme’ in art. Kutal came closer to an approach characteristic of Otto Pächt’s structuralist approach. 94 Nonetheless. who become is rarely proof positive of a connection between the visual ‘revealers of occult things’90 and whose mission is to ‘provide evidence and a concept derived from a written source’.103 They defended the non- discursive and unique nature of works of visual art. and the work in question might as well have remained unbuilt. fundamentally changes well) ‘are not a reliable guide’. autonomous and specific.the expression or the guise of an the ‘uncertainties of [a] visual dimension’ based on ‘the idea: they are its disguise’. His critique simply relativises an‘ancillary discipline’ of ‘general semantics or symbology‘.83 and that ‘a deeper relativise the iconological approach as inappropriate meaning has been deliberately concealed behind the facade given the nature of visual art.102 the two critics of iconology stressed that visual art is irreplaceable.84 In an iconological sense. is both more appropriate given the nature of visual or one that has been reduced to a simple propaganda arts and also a more reliable method for art history tool. Pächt thought.91 ultimately ‘interpreters find themselves venturing onto The iconological view of art as a ‘garment of ground far shakier than the terrain of stylistic phenomena thought. greater opportunities a secret pictorial script (‘Geheimschrift’) or cryptogram. however. in art losing its leads to the belief that a stylistic analytical approach autonomy and simply becoming a purposeful medium. with the purpose of facilitating communication or ever was’.87 for rational formulation’. so the key to enable us to decipher what is represented’. however. provocatively announcing: ‘In the beginning was the eye’ 4 / Cover of the first edition of Otto Pächt’s Methodisches zur kunsthistorischen Praxis.97 Pächt supposed that the main aim of ‘iconography and iconology’ was not to ‘hunt for … textual reference’. one considered to be purely rational. the reliability of the iconological method itself. The work of art is thus could understand why.104 highlighting their everlasting artistic quality or aesthetic value and the historical origins in which it comes about. Pächt did not only ‘some other verbally expressible thought’.95 the result is that ‘there both the nature and the role of art historians. at least.412 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 only that ‘the essence of a work of art’ is ‘a rational idea’82 or However. in his assessment. to a visually disguised seek foundation in ‘areas of research that rely largely on philosophical idea or to a symbolic representation of written sources and consequently seem to promise a greater rational content. neo-Platonic or neo-Kantian pillars but on nominalism.85 since the act of creation is itself shaky ground of sensory and aesthetic perception’.105 As we know. the idea of a work of art”.86 but above all it itself changes into measure of objectivity — or. since ‘artists’ Thus. This does not of course mean that Pächt pleasing (and therefore effective) forms in which to convey denies iconography any kind of role in the historical ideas’. ‘art as a cryptography’88 can be ‘decoded only by those own statements. Picking up on Burckhardt’s belief that ‘If one could render in words “the profoundest thought.99 In other words. uncarved.89 Understanding the es.93 iconography’s (iconology’s) claim to a primary role and to total validity.101 Credo of Sensualism Otto Pächt and Albert Kutal did not base their epistemological credo or their ontology of art on Platonic. then art would be superfluous. Given ‘Works of art … are not …. München 1977 . Pächt subscribed to sensualism. work (and we might add — about their intentions as sence of art in this way. unpainted’.92 But the moment the purpose of art is to ‘devise research. then art history loses its autonomy and becomes interpretation of art.96 Pächt’s critical analysis of iconology thus speeding dissemination’ results.98 but to teach ‘us what knowledge we need to have in our minds when we look at historic works of art’ in order ‘to reactivate whatever was spontaneously known at the relevant historical moment’. iconology should reduced not merely to an ‘ideogram’. however honestly meant’ about their initiated into the secret language’. empiricism and sensualism. ‘we need iconography’ so that we can ‘acquire these unfamiliar visual habits’100 and see works of art ‘in the right light’. This time he also doubted that is accessible to our senses’. and following that the evolutionary approach would help avoid the in the footsteps of Riegl. light and shad- executing an internal evolutionary direction having ow. In this regard he relied.’128 is not the exclusive concern of discursive thought. isn’t in the mind either. and in contrast to that have been specified or emanated. which are correspondent to them. the two anti-iconological empiricists sought to capture . he let his pupils talk him into built into them’. or the plane of a picture and the space projected onto grasped the opportunity evolution presents — that it.111 and which is not to deny its British (Scottish) inspiration. not simply in relation to form. which is the source of every piece and which they exactly represent. he absolutised nominalism. Faced with the fact that visual art eludes of sensualism or a belief in the ‘innocent eye’. upon Wilhelm Dilthey’s claim. did not explicitly articulate his art his- history. volume and movement. although Kutal distrusted explicit theory In contrast to the epistemological individual.121 It is thus clear that Pächt’s belief in the primacy of It should be noted that Albert Kutal.’125 history down to the ‘transmission of formulas’. Pächt’s full credo evolution. despite because ‘vision always incorporates knowledge. has to ‘formulate its insights and discoveries in conceptual ary tendency’ (‘Entwicklungstendenz’). applied to the most reliable empirical underpinning of art history art history by Max Dvořák in his Kunstgeschichte als analysis. since he thought it distorted the complex and unique ism that rejected the historical evolution of art and nature of reality. In this respect. mastering reality all ties or a kind of superhuman development in which through works of art. of visual art. the great artist’s role within that process as creative.119 ‘an evolution. unlike visual perception applied only to the visual art and its Otto Pächt. as vertical and horizontal. as it were. However.112 and thus turning art history ‘All our simple ideas in their first appearance are derived into a mere ‘history of copying’. that articulating worldviews the 15th century. which only allows for variations in generalising particular reality into conceptual categories. body and clothing. considered the ‘eye’.’122 Kutal deliberately prior knowledge: there is. but it also ‘fulfilment of a brief’. and a ‘sense of terms’. forever keeps its singularity. Julius von Schlosser116). as we have noted. of seeing and thinking’. He adopted verbal articulation or.108 In other words. empiricism and sensualism.114 but he also considered it to be words are conventions’127 also has its roots in late medieval a creative eye. It was not a slippery slope to an extreme form tory credo. was an essential tool for mak- (as Ernst Gombrich believed). in the beginning was the eye. Kutal expressed the opinion in relation to content. but also nominalism. following in his idealistic axiom that concrete phenomena are simply ideas footsteps.124 ventionalism such as that pursued by Ernst Gombrich. saying.110 narrowing art isn’t in the eye [in the senses]. Kutal openly subscribed to the traditions of This was because. ignoring ‘what is truly creative in those His statement is reminiscent of David Hume’s point that artists … their originality’. that ‘An artwork from Geistesgeschichte (1924). and this sticking consistently to his principle that ‘if we are knowledge functions as a pair of spectacles’ through which going to start questioning the sense of art it is bad’. This historic task or seem to boldly challenge the Old Testament’s ‘In the ‘brief’ ‘supplies the link between individual and general beginning was the word…’. But. it not only has will or evolutionary direction?118 Pächt thought this to voluntarily ‘base all its statements on specified criteria’ dilemma might be overcome by introducing the (‘Vorweisen von Kriterien’) and ‘give reasons for all its insights concepts of ‘formal opportunity’ (‘Formgelegenheit’). to have been shaped by previous ‘habits cited earlier. saying: ‘What the ‘continuity of formal conventions’. avoided mapping out theoretical problems in detail. just as that the enduring aesthetic value of a work of art was Kutal had. and the space. as Pächt argued. this did not mean he completely rejected absolutised the creative independence of geniuses the idea of conceptual generalisation. he thought that conventionalism.117 Pächt was convinced ing rigorous study.120 They would help us see of art investigating the relationship between figure and the history of art as an innovative process.109 Despite recognising the importance of privately looking at the theoretical basis of his research convention and stereotype in the history of the creative (‘Kunsthistorik’). between the style of the individual work and the read: ‘I am convinced that. only described. (‘Aufgabelösung’). Ultimately. consequently.106 and the continuum of events in which it is embedded’. his belief that theoretical generalisation always risks insofar as our eyes are ‘organs with earlier experiences distorting the reality.115 However. no innocent eye’. In contrast to Pächt. not the word’. that ‘A work of art is something quite specific. let’s say. he consciously arts. Pächt stated that ‘if the individual creator merely exercises anonymous art history is ever to be a scholarly discipline’. scheme and stereotype (even in the work of geniuses) despite all its imperfections. form and expression. and ultimately between artistic creativity concerned.’126 Kutal’s statement.129 By conducting a formal and structural analysis direction’ (‘Richtungssinn’). where the history of art is style of its period. Agreeing with Pächt. he believed that it was possible following dilemma: is there a free genius transcending to generalise into conceptual terms. the and discoveries’ (‘Begründen aller Einsichten’). In contrast to the (promulgated by Benedetto Croce and. this insight from the ‘modern psychology of perception’ ‘The internal life of the style of a work of art can never be which holds that ‘there is no such thing as seeing without aptly transcribed.107 avoided explicitly theorising on the subject.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 413 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL (‘Am Anfang war das Auge’). ‘we see with knowing eyes’.113 Pächt may indeed have from simple impressions. as Jacob Burckhardt put it. Pächt did not adopt a position of extreme con. At first glance this might of a ‘historic task’ to be fulfilled.123 and we look. No turn emerged to cast doubt on and other art historians.131 The concept of evolutionary in his time.134 ‘Über die dringendsten methodischen Erfordernisse Pächt was concerned to establish the design prin. Pächt posed of a number of evolutionary chains. He saw it as followed Dvořák’s approach as articulated in his essay. However.141 And ‘So long as it only concerns hypotheticality … there Continuity and constants is a certain truth to it. conceived of by the main representatives for an authoritarian theory of art history as Hans of the Vienna School as evidence of the universality of Sedlmayr had done. if it considers hypothesis to be a state of knowing that does not guarantee absolute certainty. they chose led to a systematic and continual increase in He remained convinced that national constants are knowledge. Kutal searched evolutionary genealogical method to be ‘the most for the evolutionary continuity that was the basis of the reliable test’ in art history research even if it were not uniqueness of the artistic organism. he discovered local or regional schools of art. which together formed and beliefs. As chain or the structure of the work of art and the funda. he was not interested in developing the structure of evolution and led to the establishment a ‘true’ art history method as Hans Tietze146 had been of a domestic art tradition. were deliberately not intended to be a collection of a particular national or nation-state artistic entity. there was nothing to objection that constants are metaphysical personifica. he thought.142 of art.148 history knowledge. against iconology.152 Their experiences liable foundations of art history knowledge. Kutal140 pointed out: ‘It concerns knowledge of the past as mental ‘principles of design’130 upon which it was based. who lived for many years on either side of the ‘Iron Curtain’. created the istic elements in the investigative road taken by Otto nuts and bolts of a particular national art history entity. he believed. By ascertaining the the only legitimate approach. had to be understood as dynamic entities. in the methodological approaches of the two art history professors from Vienna The modesty of knowledge and Brno. They were simply conceived of reconstruction of domestic evolutionary continuity as the as a methodological guide as to how to most reliably result of the ‘active assimilation of foreign stimuli’ and com. the evolutionary both were fully aware of its hypothetical character. the two scholars are not Both Pächt and Kutal were undoubtedly epistemological just linked through the common genetic source of their optimists. to an increasingly synthesised perspective true.414 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 the either structure of development. for verification.145 This epistemological genealogical links and evolutionary relationships between caution or modesty was perhaps also why. In this respect. and having a respect art history simply has to rely on a semblance of truth.149 ciples (‘Gestaltungsprinzipien’)135 which not only formed Continuity and constants were not only key the basis of individual works of art or the life work of methodological categories but were also character- individual artists but which. The two representatives of the structural core or ‘driving force’ of the national art structural-genealogical art historiography remained history constant and its ‘meaningful evolution’. The paths tions of abstract concepts or spiritualist hypostases. conduct art history research. proof of the relative autonomy of the artistic organism. it was. These and to a continually expanding research area. Methodisches zur kunsthistorischen followers of the Vienna School.133 of uncontested truths or as a compendium of binding The vanishing point of Kutal’s art history research was the rules and principles.139 parallels. What for detail and a principled inductive approach to works we are concerned with here is the degree of probability’. summarising his lifelong methodological principles evolutionary series and chains. when works of art.150 historical invariants.144 However. Pächt and Albert Kutal. Pächt looked for of art history knowledge143 and the associated need structures that went beyond the individual work of art.147 and why he did not attempt art history and as a tool for rational causality-based art to produce a scholarly theory as had Kurt Badt. he considered the the structural invariants and constants. in the hands of the Pächt’s lectures. Pächt and Kutal supposed the existence of Pächt also accentuated the hypothetical nature superindividual art historical entities. scientifically verifiable artistic structures. and at times consensus. rupture the continuity of their research paths.151 an empirical-based conceptual generalisation were the re. der Erziehung zur kunstgeschichtlichen Forschungʼ.138 They should be identified Coda directly in the artwork and in the evolutionary series using a strictly inductive method and not externally It is forty years since Pächt and Kutal engaged in a debate introduced into the art and its evolution as the national. of classical modern art informed their formalist and . Today one might be surprised to find ist and racialist theory of constants had done. Nonetheless. Pächt brushed aside the their methodological constancy. they were also related generationally.136 Despite loyal to the evolutionary approach throughout their the fierce penetrating criticism by Meyer Schapiro137 professional careers. the reconstruction of evolutionary causality and Dvořák to which they loyally adhered and developed). even though we know that it is impossible to capture it’. into proof of the existence Praxis. It may also explain why he did not strive continuity. They were convinced that empiricism of the research methods (the legacies of Alois Riegl and Max senses. But often Despite being loyal to empiricism.132 was transformed. ’ This was der Soziologie zu bringen. Part of the Slovak version of this article perspective of literary history: ‘A literary series system is above all a system will be published in a volume commemorating the 70th birthday of of the functions of a literary series in continual mutual relation with other Kutal’s disciple. 303: ‘Für beide ist nur im Falle. 7: ‘… grösste Berechtigungstitel der modernen exakten Wissenschaft…’ Aktualität und programmatische Bedeutung’.153 Alois Riegl. principles: 1. pp. Das Rätsel der Kunst der Brüder van Eyck. 35. Geschichte der Gartenkunst published in 1913.’ (Ibidem) In Dvořák’s conception of art history notes as the history of ideas (‘Kunstgeschichte als Geistesgeschichte’). sten Quelle der kunstgeschichtlichen Kritik und Erklärung erhoben …. albeit within the kunstgeschichtlichen Forschung. p. Ausgewählte Schriften. Bilderkämpfe von der Spätantike bis zur 14 Dvořák (note 7). Müller — Horst Bredekamp — Berthold Hinz et al. 10 Max Dvořák. Gesammelte Aufsätze. Die historische Aufgabe Michael Pachers. Erscheinungen und Äusserungen. München 1929. — T. Dějiny 1925. Clearly. and also Rudolf 2.). Reinhard Bentmann — Michael Gesammelte Aufsätze zur Kunstgeschichte. Wiener Jahrbuch für of constant innovations. Entwicklung der Kunst ist… selbständig’. Heft 34. 17: ‘die stilgeschichtliche Betrachtung zur wichtig- Hussitenrevolution.). 2 Die Geisteswissenschaften. It was through these lenses Kunstgeschichte. 1972. pp. Frankfurt am Main 1970. Bildungen derselben Materie — so lautet die Voraussetzung und der 4 Wiener Jahrbuch für Kunstgeschichte XXVII. Teória 1 Albert Kutal. Inedita Maxe Dvořáka. sozialgeschichtlichen Analyse. 12: ‘… eine Universalgeschichte der Kunst [ist] nur 6 See note 4. Clark. Russian literary critic Jurij Tynjanov expressed Über die dringendsten methodischen Erfordernisse der Erziehung zur a similar opinion on the development of literature. p. p.’ Jurij Tynjanov. Band 1. Leipzig 5 See articles by Jaromír Neumann and Rudolf Chadraba in Umění 1913.’ the scholarly knowledge and use them to its favour. See Max Dvořák. Bratislava 1971. 1961. — Horst Bredekamp. literatúry: Výber z ‘formálnej metódy’. 143. ‘die Charadraba’s extensive Max Dvořák a vídeňská škola dějin umění. 3. See. An die Stelle des unhaltbaren grösster Aktualität und programmatischer Bedeutung gerade heute. eine Garantie dafür gegeben. Frankfurt am Main 1975. 59–60.. Über die dringendsten methodischen Erfordernisse in which they saw the evolution of art as the process der Erziehung zur kunstgeschichtlichen Forschung. On this. London 1973. sie … in das Schlepptau nur zum Teil in eine genetische Verbindung gebracht werden können. die nur in durch die Ikonologie gebannt ist. die Kunstgeschichte einer neuen schweren zeitloser Unendlichkeit eine Einheit bilden. Naturwerk und Kunstwerk I (1901). 1974. 612–613. and Chadraba’s reconstruction of Dvořák’s lectures. Die Methode der Kunstgeschichte. pp. in: Mikuláš Bakoš (ed. 13–14. Dvořák relied completely on Alois conceptions of art and their consistent emphasis on art Riegl’s view: ‘Diesen Zusammenhang zwischen bildender Kunst und autonomy. pp. ‘Die Entwicklung der Kunst ist eine allgemeine und umfasst alle Idealismus und Realismus in der Kunst der Neuzeit. gave rise 8 Ibidem. Image of the People: Gustav Courbet and the (1977). die die betreffende Periode hervorbringt’. Die Villa als Herrschaftsarchitektur. Antonín Dufek.. series. formulated the Vienna School’s four basic methodological IX. p. 63. Autonomie der Kunst. — Idem. Frankfurt am Main 13 Otto Pächt. Their response to the historischen Disziplinen eine selbständige Stellung ein. Zur Genese und Kritik einer bürgerlichen Kategorie. wodurch . München 3 Dvořák’s article was published in Jaromír Pečírka (ed. mit der die Kunstgeschichte oft verwechselt wurde. in: Rudolf Chadraba. On the issue of the relationship between to their deep mistrust of all idea-based and ideological art history and cultural history. p. for example. 14: ‘Jede geschichtliche Bildung ist ein Glied einer bestimmten umění jako dějiny ducha. in: Wiener Schule. Müller. München München 1973. 187–205.’ als Medium sozialer Konflikte. 4. — Michael Erinnerung und Perspektiven.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 415 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL structuralist conception of works of art and the way 7 Max Dvořák. ’Die Entwicklung der Kunst ist stetig und unnuterbrochen’. noch Massstabes einer aufsteigenden oder sinkenden Vollendung oder einer ehe die Gefahr der Monopolisierung der Interpretation von Kunstwerken konsequenten Weiterbildung tritt die Fülle von Entwicklungsreihen. sondern diejenige … des vergleichenden Kulturhistorikers. Kapitoly z českého dějepisu umění II. Otto Pächt and Albert Kutal were able Weltanschauung im einzelnen nachzuweisen. both fascist and communist alike. dass eine durchgängige 1848 Revolution. Wiener Jahrbuch für Kunstgeschichte LIII. Bildersturm: Die Zerstörung des Kunstwerks. Praha eine Abstraktion’. Albert Kutal and the centenary of the publication of Dvořák’s article. p. 133. Riegl based his view on the TRANSLATION FROM SLOVAK BY CATRIONA MENZIES premise that the relationship between art and contemporary worldviews was based on parallelism: ‘… die bildende Kunst (ist) zwar nicht durch die jeweilige gleichzeitige Weltanschuung determiniert. Methodisches zur kunsthistorischen Praxis. 618–626. — Martin Warnke (ed. 41–44. Umění XIX. 13: ‘Die Kunstgeschichte … nimmt … im Rahmen der that they viewed medieval art. p. J. no. ‘eine immanente Entwicklung ist … in: Rudolf Chadraba et al. 1848–1851. 7: ‘Vor 60 Jahren geschriebene Artikel erscheint von im enzyklopädischen Sinne des Wortes denkbar. 2nd edition 1971. p.’ Pächt probably had in mind the ascent of also the opinion Dvořák expressed in his review of a book by Marie Luise neomarxist ideological criticism in 1970s German and Anglo-American Gothein. as O nejnaléhavějších metodických geschichtlichen Entwicklungskette und bedingt durch die vorangehenden problémech ve výchově k uměleckohistorickému badání.). Umění XIX. doch in historischer Begrenztheit Belastungsprobe ausgesetzt wird. 9–56. The Absolute Bourgeois: Artists and Entwicklungskontinuität bewiesen werden kann. 11 Hans Tietze. this dualistic notion was later superseded by a monistic one (that of expressing * This article was written on the 110th anniversary of the birth of a worldview through art). 1971.’ regimes. Wien — Köln — Weimar 2004. p. 1987. Versuch einer kunst. in: idem. in: Alois Riegl. Trnava 1941. 368. 9 In the late 1920s. Kunst dass Kunstgeschichte als exakte Wissenschaft zu betreiben ist. wäre nun nicht die Sache des to reconcile these artistic and political projections with Kunsthistorikers. wohl aber mit ihr schlechtweg parallel läuft. pp. Padesát let od smrti Maxe Dvořáka. wo. pp. p. Leipzig 1913–1914. pp. Praha 1936. 1974. 1995. … Das gilt vor allem für political instrumentalisation of art under totalitarian die Kulturgeschichte. 12 Dvořák (note 7). O literárnom vývine. Augsburg — Wien 1929. Max Dvořák — A Neglected Re-visionist. art historiography. London 1973. indem man versucht. p. 2nd ed.und see Ján Bakoš. 6. Politics in France. 453–472. when we need to corroborate our own interpretation and judgment of the Materializing Strukturforschung. p. Pächt und die nicht mehr Schönen Künste. in: Martina 36 Pächt. Otto Pächt 1902–1988. The Practice (note Handbuch deutschsprachiger Kunsthistoriker im Exil. 62: ‘Äusserlich sehr ähnliche Gebilde müssen eben nicht kunstgeschichtlichen Forschungen. see Rudolf Preimesberger. 3–4. Methodisches zur kunsthistorischen Praxis.’ — Pächt. Otto Pächt and the History of Art in England 1938–1963. The ‘Second’ Vienna School as Social Science. 187–300. Otto Pächt. 321–323. Politics and Historical Method (note 33). aber nicht so. 298: ‘… es gibt eben Prozesse. nicht nur als notwendigen Korrektiv aller Entwicklung’. gehalten im Wintersemester LʼArt et les Révolutions. pp. der künstlerischen Phänomene vordringen können. Teil 2. 35 Pächt. des Faches Kunstgeschichte in Deutschland. in: Mitchell B. Zur neuen Wiener Schule der Kunstgeschichte. The Wandel der äusseren Erscheinung … begleitet. pp. pp. — Ján 1970–1971.’ — Idem. 56–60. no. schrittweisen Evolution. Als in: Révolution et évolution de lʼhistoire de l’art de Warburg à nos jours. 5–6. in: Otto Pächt.’ — Idem. Wood. 67–76. 9–18. 19: ‘die Ausbildung einer eigenen.’ Traditionsverbudenheit beruht weder auf der Übernahme des Vokabulariums. in: idem. sondern als Disposition zu neuen Gestaltungsmöglichkeiten.’ Martina Sitt. in: Michael Pächt — Artur Rosenauer (eds). dass das Neue aus ihr als zwangsläufiges Produkt in Viennese structuralism. p. 34 Pächt. 24 Ibidem. 61: ‘… den Gedanken der Kontinuität retten zu müssen. 22 Ibidem. 31 Ibidem. Methodisches (note 33). ‘den inneren Sinn der Bewegung. Otto Pächt — Am Anfang war das Auge. 225: ‘Gelingt die Einordnung in 19 On Otto Pächt. esp.’ kann dieselbe Gestaltungsweise in sehr verscheidenartigen Formgewand in 16 Artur Rosenauer. die über die kritische Zusammenstellung Emanationen eines innerlich verwandten Kunstwollens sein. p. 7. — regard our findings as verified. Mitteilungen des Österreichischen als verifiziert ansehen. New York 2003. British Academy LXXX. und Anlage zum … Umkippen der Situation nachgewiesen. 225–226: ‘Wir suchen in Warschau 2010. 298: ‘Entwicklungskontinuität darf Sitt (ed. 9–72. Frank — Daniel Adler individual work … an individual work … may be released from its isolation. Otto 39 Pächt. in: The Vienna School Reader. Methodisches (note 33).’ das Auge’. p. no.’ — Idem. Kunsthistoriker V. pp. — Artur Rosenauer. pp.’ — Idem. wo der Introduction.‘Am Anfang war 30 Ibidem: ‘… fundamentale Wandlung der Gestaltungsprinzipien. December 2012. p. seinen frühen Schriften.’ — Idem. in denen eine innerlich konsequente Wandlung äusserlich sehr unähnliche 20 Pächt (note 13). pp. The Practice (note 33). 61: ‘… der allmählichen. Methodisches (note 33). 38 Pächt. p. Methodisches zur kunsthistorischen Praxis. Otto Pächt — Bemerkungen zu seinen frühen Erscheinung treten. Methodisches (note 33). 73–83. 134. The Practice (note 33). — man aber nicht mit allmählicher. 62–63. 134. The Practice (note 33). 61: ‘… der Wandel der inneren Struktur [wird] vom Gemeinsamkeit der Fragestellungen und der Grundforderungen. however. — Christopher S. Symposion anlässlich seines 100. pp.). 63: ‘Die vorangegangene Entwicklung bleibt München 2006. p. pp. pp. p. — Artur Rosenauer. — Ulrike Wendland. — Christopher S. Otto Pächt — Bemerkungen zu gelangen. pp. pp.’ noch der Gestaltungmittel.’ art history and cultural history in his writing. Ashgate and thus ‘the evolutionary approach will give us access to the core of artistic 2012.’ (eds). ‘Nominalists’ versus ‘Realists’ or ‘Humanists’ versus ‘Relativists’ Schriften. 1–17. in: The Practice of Art History. ausserhalb der Kausalität stehend erscheinen Lassen. see Ján Bakoš. 1971. 134. pp. 1999.’ 40 Pächt. The Practice (note 33). Section 5. German Art History and Scientific Thought: Beyond Formalism. manage to locate the work within a genealogical sequence … then we can safely Zum Gedenken an Otto Pächt. p. 33 Otto Pächt. — Idem. 39–48. Jonathan J. pp. Biographisches glechmässiger Entsprechung begleitet wird. 55–65. — Christopher Wood. sondern auch als der Voraussetzung aller 29 Ibidem. 298: ‘Man darf nicht um jeden Alexander. p. pp. p.’ Hence. 3–4. 1988. hinwiederum und Ordnung der Denkmäler hinausgehen. p. The Practice of Art History. p. On an essentialist conception of structure Voraussetzung.’ 15 Ibidem. Wien 1977. English edition: Otto Pächt. in: Proceedings of the verwechseln. schrittweiser Evolution gleichsetzen. 298: ‘Entwicklungen. London 1999.’ Schriften. Der tschechoslowakische hervorgeht. Vorlesung and der Universität Wien. ‘die Innere Tendenz der auf historischer Grundlage. 134. Methodisches (note 33).’ — Idem. 470–478. München 33). pp. — Pächt — Rosenauer (note 16). no. p. Preis versuchen. Wood. Reflections on Wandel der inneren Struktur vom Wandel der äusseren Erscheinung in völlig Method. zum Bild einer ganz geschlossenen Entwicklungskurve zu ibidem. p. Alexander. Polen und Mitteleuropa. 4–5.’ which help ‘das Approaches to Art History & Related Discourses. 11–40. p.416 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 das Prinzip der genetischen Geschichtsauffassung auch darauf übertragen 26 Ibidem: ‘… die Immanenz der kunstgeschichtlichen Erklärungsweise wurde’. ibidem. p. David Britt. 141–160.’ Strukturalismus und die Kunstgeschichtsschreibung. Berlin 1990. Discourses and der entwicklunggeschichtlichen Betrachtung Hilfe und Stütze für unsere Strategies: The Role of the Vienna School in Shaping Central European Interpretation und Beurteilung des Einzelobjekts. Methodisches (note 33). 25–62. Geburtstages. Kunsthistoriker. 304: ‘Jetzt wird schon in der Vergangenheit die Möglichkeit Ästhetik und allgemeine Kunstwissenschaft XXXVI. 1988. Kunsthistoriker in eigener Sache. The Practice Introduction. he did not hide . pp. Ausgewählte Bakoš. 2nd ed. Frankfurt am Main Einzelobjekt … aus seiner Isolierung erlöst zu werden. ‘wir würden 2013. nicht aufrecht halten zu können. 304: ‘… eine Dinstanzverringerung zu den Vorstufen. der Ausdruckverfahren … sondern auf einer 23 Ibidem.’ kritischen Untersuchungen. London Wojciech Balus — Joanna Wolańska (eds). p.’ Practice (note 33). 134. 304–305: ‘… das Äusserordentliche nicht Resultate schafft. 1995. ibidem. trans.’ 17 Artur Rosenauer. vermittels der entwicklungsgeschichtlichen Betrachtungsweise bis zum Kern 18 Rosenauer (note 17). pp.’ Journal of Art Historiography. Zeitschrift für 32 Ibidem. pp. 74–75. 61: ‘If we can Kunsthistorikersverbandes V. (Methodological Visions and Revisions within the Vienna School). Methodisches (note 33). 298: ‘Die echte 21 Ibidem. 37 Pächt. p.’ und Beweisen prägnat begrenzten und exakten stilgeschichtlichen Methode 28 Ibidem: ‘… das innere Drängen’. pp. Die Etablierung und Entwicklung 1999. pp. Strasbourg 1992. — See the latest Ian Verstegen. p. oder Jonathan J. 1993. G. G. pp. Otto Pächt eine genetische Reihe … dann können wir unseren Befund mit gutem Gewissen zum Gedenken. Reflections on Method. phenomena. 60–61: ‘We have recourse to the evolutionary perspective in the 1930s.’ 41 It is true that Albert Kutal did not explicitly distinguish between 25 Ibidem: ‘… den Sprung hinwegzuinterpretieren. pp. in ihren Aufgaben 27 Ibidem: ‘… ein ziemlich grober Flickungsversuch. Reprinted in: Ján Bakoš. Dresden 1966. . sondern tiefer — in der Schicht. 276. 779–780. He considered the emergence of new genres of 58 Białostockis intention was perhaps to bring the two opposite art to be the exclusive realm of the cultural history of art. Internationalen Kongresses für Kunstgeschichte in Bonn 1964. wohl kaum zu Recht besteht. pp. ological conception of history. but a meaning is revealed that was consciously imparted to it by the Anspruch von Ikonologie und Symbolgeschichte. pp. as he himself had tried to do in his own work. 271: ‘… diese wichtige Disziplin /hat/ legitim nur die 49 Cited in Erwin Panofsky. Erwin Gedanken … darstelle. Early Netherlandish Painting: Its Origins and See Jan Białostocki. but to discover the theological or philosophical preconceptions that proof of this. p. it Kunstwerks. pp. Dadurch ist die Möglichkeit einer Übereinstimmung schwer erreichbar. in much the same way as Riegl’s abstract 1979–1980. onwards: iconography: ‘Unter Ikonographie verstehe ich hier auch die zur Ikonologie ‘… concealed or disguised symbolism as opposed to open or obvious aufgewertete Inhaltsexegese.’ Ikonographie.). Berlin 1967.’ aims at as complete an understanding as possible of the artistic achievement of 63 Ibidem: ‘[Man ist] stillschweigend davon überzeugt. Geschichte der ermöglicht. p. 43 Erwin Panofsky. 110–116. see Michael Podro. pp. 150. 239–262. the Arena Chapel) and the Mérode Altarpiece by the Master of Flémalle as visual form. 781: ‘in its Wesen und Wert der künstlerischen Schöpfung.’ — On this. Character. während doch die bildende Kunst es nicht mit dem “Was”. in: Sborník prací filozofické fakulty brněnské univerzity. representations of objects.’ p. Symbolbedeutungen bloss das äussere Thema sichtbar werden und doch nicht 51 Ibidem. mension of art history. p. Pächt spoke of an acute need ‘for reassessment of on the relationship between art history and iconography: Riegl spoke the mutual relationship of iconographic and stylistic approach and for of ‘unausrottbare Verwechslung der Geschichte der bildenden Kunst mit der synchronization of their methods. pp. If. 44 See Panofsky (note 42). dass jedes mankind.’ ideal. p. — For critical comments Originalität in ikonographischen Neuerungen zu suchen oder sich künstlerische on Pächt’s review. 271: ‘… endlich die Grenzen der Ikonographie zu erkennen.’ p. den Vor-wurf zu ihrem Gegenstand. see Ján Bakoš. Penguin gedankliche Vor-stellung. 263: ‘… ein radikaler Wandel in den Anschauungen vom of World Art. die der Künstler bewusst in seine Schöpfung eingebaut Panofsky: Beiträge des Symposiums Hamburg 1992. Spätrömische Kunstindustrie. postulated form it [iconology] is both the most unified and the most 62 Ibidem: ‘… diese intellektualistische Anschauung vom Wesen des general and all-embracing method of the historical interpretation of art. Cambridge.’ — Pächt’s criticism is a loyal rendering of Riegl’s view 53 Ibidem. Mass. Wien seize the very essence of the artistic phenomenon and grasp it in its totality. 18. p.’ Books 1970. die alle bewussten Auffassungen Kunstgeschichte am Fin de siècle. und die deshalb rational formulierbar und ikonographisch erfassbar sind. Pächt included iconology within Painting ‘Spiritualia sub metaphoris corporalium’. p. however. 276: ‘the creative act is placed on the level of 65 Ibidem. Bakoš states: ‘Die Differenz zwischen der Ikonologie und formalism paralleled ‘Entgegeständlichung der Kunst am Fin de siècle’. consciousness and is imagined to be of non-intuitive nature … its ultimate aim 66 Ibidem. talks 56 Otto Pächt. befasst. in: Bruno Reudenbach (ed. 131. Akten iconological concept of the historicity of art was not based on the premise des 21. However.’ decoding.’ 47 Pächt (note 46). p. 394–395. in: idem. Berlin 1994. approaches closer together. 263: Since there was no inevitable connection 48 Ibidem: ‘Not the “documentary significance” of the phenomenon is between ‘von künstlerischer Grosse und ikonographischer Originalität’. and implicit in. Iconography and Iconology. iconographic analysis inevitably develops into a kind of 68 Ibidem. 769–785. it should be noted that the Erneuerung. 271. 127–129. in: Stil und Überlieferung in der Kunst des Abendlandes. Studies in Iconology: Humanistic Themes In the Art 59 Stil und Überlieferung in der Kunst des Abendlandes (note 56). New York 1939. of permanent innovation but on emphasising tradition as the decisive di- Band 3: Theorien und Probleme. pp. das Wesen künstlerischer Burlington magazine XCVIII. in: Willibald Sauerländer. of the Renaissance. 271. Methodisches (note 33) p. pp. 42 Erwin Panofsky. p. pp. letzten Endes geht.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 417 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL this belief in his teaching. 64 Ibidem: ‘[Man kam] auf den Gedanken. 1953. lie behind it.’ 46 Otto Pächt. 198. — Willibald Sauerländer thought Riegl’s indifference to On these. soweit sie sich mit gedanklichen Konzepten symbolism. in: Encyclopedia 61 Ibidem. The Critical Historians of Art. the other an irrational sondern mit dem “Wie” zu tun hat. Reality and Symbol in Early Flemish 60 Pächt (note 56).’ Alois Riegl. 264–270. New York — Toronto — London 1963. Alois Riegl. Einige Kritiken der Ikonologie und Albert iconography was linked to the disdain with which impressionists viewed Kutal. ‘der shown. pp. um die es in der Kunstgeschichte 52 Ibidem. see also Willibald Sauerländer. 262. p.’ 67 Ibidem. On the icon 57 Białostocki (note 45). pp. Kunst — Gegenwart der Kritik. p. Köln 1999.’ concealed one. ‘Barbari ad portas’. 70 Ibidem: ‘… sie [Ikonographie] lässt auch im Aufspuren verborgenster 50 Pächt (note 46). 262–271. vorzustellen. He cited Giotto’s frescoes in Padua (the being no longer to understand the philosophy embodied by. Meaning in the Visual Arts. Panofsky’s Early Netherlandish Painting I-II. einen Zugang zum Kern des artist. hervorragende Kunstwerk im Grunde eine Manifestation bedeutender Panofsky in den fünfziger Jahren. 54 Ibidem: ‘… one implying a rational. — Sauerländer (note 45). p. 267–277. Alois Riegl und die Entstehung der autonomen Auffassungen. 7.’ klaren Scheidung zwischen Ikonographie und Kunstgeschichte erblicke ich die 55 Ibidem: ‘I fail to see how they can be co-ordinated if each is based Vorbedingung eines jeden Fortschrittes der kunstgeschichtlichen Forschung on a different notion of the nature of artistic creation and each claims it can in der nächsten Zukunft.’ 1927. F 23–24.’ 71 Otto Pächt.’ 69 Ibidem.’ And added: ‘In der Herstellung einer structure. 221–222. New Neuschöpfung automatisch mit ikonographischer Neuerung gepaart Haven — London 1982. 66. Vol. pp. Stil und Ikonographie: Studien zur Kunstwissenschaft. see Jan Białostocki (note 45). 135–136. das innere Thema und seine Gestaltung. 271. nämlich im Bereich ontologischer Vorurteile und Überzeugungen. this intentional meaning is at the same time a deliberately künstlerischen Phänomens zu bieten. 45 Jan Białostocki. p. Künstlerische Originalität und ikonographische of ‘the realm of originality — of true art’. deren Kritiken besteht also letzten Endes nicht in der Schicht der optischen Willibald Sauerländer. which ranges from survival to revival. 141. etwa der sprachlichen.’ — point … on intuitive links between form and world’. Klára Comparing Riegl’s and Pächt’s explanation of the evolutionary approach. p. pp. Robert Klein. alien to the language art as based on perceiving form as ‘Inkarnation des geistigen Verhältnisses of words.’ — Those who spoke were Heckscher. The Practice (note 33). univerzity F23–24. perfectly possible to conceive of new formal creations that arise and grow characterised Dvořák’s worldview interpretation of the form of a work of within the medium of the visual image: new formulations. Similar findings also apply to Kutal’s analyses.’ convey a message (what). Millard Meiss. eye a pictograph. J. Ursprung und Sinn der horizontalen Pietà. In Ibidem. Praha 1962. 1130. head with Parléř’s half-open mouth is similar in arrangement to that of the Bd. a correspondence between art and the material world. Korrespondenz 77 According to Pächt. precise. Hans R. 20. — See also idem. Bd. Methodisches (note 33). that is. contact the only connection with her son. Bei Riegl hat das Kunstwerk den für Kunstgeschichte. 283–285. Otto Pächt — Bemerkungen zu seinen frühen Schriften (note of formal or visual elements (how)’. Rookmaaker. — Hans Aurenhammer. Ettlinger. p. p. are conventions. p. Otto Pächt und die nicht mehr Schönen Künste (note spread rapidly… This was the great achievement of Parléř’s sculptures — that 19). 33). … The two solitary masses are simply 81 According to Pächt. Jaromír Neumann. What is more. lying motionless as if torn from the nimmt’.’ recommended that Białostocki invite speakers to the session. ibidem. 290–291) simultane Strukturanalyse selbst als Klassifizierungsbehelf ist unbrauchbar. Methodisches (note 33). Historical Grammar of the Visual Arts. p.418 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 72 Günther Bandmann states ‘von traditioneller Gesinnung. ed. Štyri trasy metodológie dejín strict geometric planning together create a completely self-sufficient artistic umenia. p. dass die bildende Kunst disproportionately large … There is something in the face that is suggestive of niemals etwas selbst erfindet. New York bildende Kunst [kann] … in ihrem Medium Dinge sagen.’ Stil und Überlieferung in der Kunst des Abendlandes. 100: ‘By treating the image as passage of time. thereby achieving Kandinsky in particular.van de Waal. in: Sborník Prací Filozofické fakulty Brněnské has yet to be appreciated. expresses the material earthliness of the story … and the way Praha 1959 and Jaroslav Král. 69–107. 7–18. p. 249. writes the following about the ‘Pietà in St Thomas in Brno’. Wallace. innerhalb der historischen Entwicklung. D. Panofsky (Erwin Panofsky. — Idem. 261. p. … that ‘any cultural analysis grounded in formal analysis will have to rely at some in ihr gewachsenen Gestaltungen. 35. the identification of the internal meaning [kann] das Spezifische der künstlerischen Schöpfung nie erhellen’ because the inherent in form as intuitive. — See also Ján Bakoš. Štyri trasy (note 72). die das Bild für eine Bilderschrift way is the enclosed mass of the two bodies. a letter dated 4 January 1963. Kunsterfahrung und Kunstwissenschaft. was in the Madonna in the parish church in Žebrák. — the “horizontal type” that emerged in Parléř’s Brno or Prague circles and then On this. … die Aufdeckung von considers Riegl’s and Dvořák’s conception of the relationship between Inspirationsquellen ausserhalb der bildenden Kunst. 249: ‘die Visual Arts. Für Pächt sind … die einzelnen 74 In relation to Riegl’s interpretation of works of art Benjamin Kunstwerke in ihrer ganzen Komplexität das Primäre. The perfectly balanced The Practice (note 33). České gotické sochařství 1350–1450. 264. — There is also justification for 76 Kutal. Wien — Graz — Köln 1983. in: representative character. pp. — In Wood. Introduction (note 18). using the phenomenological concept ‘Wesensschau’. 108–109. 78. The Practice (note Rosalie Green. Methodisches (note 33). Kutal 79 See note 33. ‘following Riegl. pp. torn from the passage of time and therefore static. R. Bd. den expression and also more Italian … The shape of her eyes could of course have modernen Begriff der Originalität auf das Mittelalter zu übertragen’. In his opinion. 220. 3. Pächt. 1. Martin.’ Ibidem. placed together and suddenly the main lines come together. however precise. 83–84. which was 80 Pächt. being a magnificently simply description of body parts … using of artwork to medieval art. See Gerhard Schmidt. Monumental Ruin: Why We Still Need to Read Historical Grammar of the 78 According to Pächt. Benjamin Binstock. Max Dvořák (1874–1921). Charakter eines Beleges für die historische Entwicklung … also in ihrer Funktion Sonderdruck. — See Ján Bakoš. 2. such as Otto Pächt. Pächt and Kutal. Wood relates Pächt’s structuralist approach to the work of in contrast to the “vertical” type … he constructed a new type. pp. 84: ‘visual art … can say things in its own a representative of the ‘New Vienna School’. Methodisches (note 33). die in keinem 2004. 62–63. specifically cubist model mass. L. Dieter Wuttke. … the discovery of sources of world-views crystallized in pictorial structure’. the enclosed These can also be seen as applying a modernist. 75 Albert Kutal. pp. p. is no use even as an aid to Guy de Tervarent and H. in: Otto Pächt. Introduction. R. p. pp. The Practice (note 33). Garasová. in: Alois Rieg. p. Paul Guignard and Artur Rosenauer states: ‘Für Riegl [ist] das Verhältnis von Kunstwerk Peter Meller.’ Kutal believed that ‘A work of art is something quite specific. come about through Czech painting from around mid-century… His [Christ’s] Cited in Heinrich Lützeler. found entire medium that cannot be said in any other. pp. right angles. He refers to Riegl’s ‘intuitionism’ and states specificity of a work of art ‘[liegt] primär im bildkünstlerischen Medium. Freiburg — München 1975. ibidem. based on precise squares and predominantly the author of books on two Czech cubist painters: Antonín Procházka. Die internationalen Kongresse und Entwicklung ein anderes als für Pächt. it is more powerful in anderen geistigen Spären vorher ersonnen worden ist.’ See Bakoš. Mary’s head is Ikonologie und Ikonographie ‘ist a priori überzeugt. 71. in: Ulrich never illuminate the specific quality of artistic creation. Wiener Jahrbuch für Kunstgeschichte XXXVI. see Wood. … das Geschichtsbild Binstock states as follows: ‘Riegl does not approach artworks as a means to wird vom Verständnis des jeweiligen Kunstwerkes her neu aufgebaut. However. Bratislava 2000. 96: ‘a formal analysis. Praha 1962. 10. 1979–1980. it is bound to the conditions of the material world and yet contributes to its 73 Albert Kutal. dass sie letzten Endes bloss illustriert. but interprets the cultural and historical content Rosenauer. p. Alois Riegl. form and content. it is Pfisterer (ed. Wood. talks of ‘Die totale the first ‘horizontal’ type: ‘What it characterises in a particularly striking Intellektualisierung des Kunstwerks. 16). The bulky figure of Mary towers above upright and alone. This time Kutal described the Pietà at the Church referring to the projection of a modernist type of artwork in relation to of St Thomas in Brno thus: ‘St Thomas’ Pietà … is the most notable example of Pächt’s structural analysis of the work of art (as ‘a working machine’). der Wortsprache fremden Neuformungen. Klassiker der Kunstgeschichte. The Practice . Kritiky statue on the Bridge Tower … its importance for the history of Czech sculpture ikonológie a Albert Kutal.). None of those he proposed spoke. p. p. — Idem. classification unless accompnied by a simultaneous structural analysis. as Idem. words zur Umwelt’. Wiesbaden 2011. Christopher Wood anderen Ausdrucksbereich gesagt werden können. vertical of Mary’s figure and the horizontal of Christ’s figure. Thus it is logical that Kutal was also organism … The geometric outline. the writer can totally intellectualize the work of art…’. ‘eine noch so genaue Formenanalyse ohne 1962 bis 1968. 17. München 2007. p.’ — Idem. p. 69. Introduction (note inspiration outside visual art — in word-based art forms for instance — can 18). begibt als es die Schicht der Stilphänomene ist. die nur die in die Geheimsprache Eingeweihten den letzten Jahren grossartig geworden und stellt als Ikonologie gewissse auflösen könnten. p. sondern ihre der sinnlich-ästhetischen Wahrnehmung in Forschungsgebiete auszuweichen. at least. 248: ‘… die Jagd nach dem Textzitat. then … art history might be practised as part of 83 Pächt. pictorial art as visual aids for the presentation of philosophemes. p. p. 86.‘ verborgen. p. p. sie wäre nur noch als Hilfswissenschaft previously been invented in other areas of mental activity. not an end in itself … it dwindles into a means of propaganda. this century was still regarded as an ancillary discipline of art history. Methodisches.’ bestimmt seien. 81. p. under the name of iconology. 236. 268: ‘Wissen um zu liefern.ʼ 99 Pächt.ʼ mit dem Credo der Ikonologen. which as late as the beginning of are connected to Renaissance humanists via ‘an aristocratic standpoint’. 251: ‘…die Aussagen der Künstler zu Ideogrammen. p. The Practice. p. Methodisches. Methodisches (note 33). Schriftquellen beigebrachtem gedanklichem Konzept in den seltensten Fällen zu 88 Pächt.’ — Idem. p. p. 249: ‘… die hervorragendsten of objectivity — or. p. Methodisches (note 33).’ — Idem. Verkleidung.’ Iconologists. Methodisches (note 33). Methodisches (note 91 Pächt. 239: ‘Die Crux ist nur. according to Pächt. — Idem. p. serving to sort and sift the sinnlich wahrnehmbaren [ist] ein tieferer Sinn verborgen. p. symbolizations of rationally definable meanings. p. Methodisches. Practice (note 33) . 104: ‘the formal and iconographical conventions schnelleren Verbreitung. 249. The Practice (note 33) p. Methodisches into ideograms. situates ‘… das Operieren der künstlerischen höheres Mass von Objektivität oder zumindest von rational Formulierbaren Einbildungskraft vollkommen in die Zone des Bewussten und rational versprechen. p. 237: ‘Kunst ist hier werden. und mit Absicht raw material for delivery to other fields of study. p. — Idem. The Practice (note 33). The the secret language. p.’ — Idem. The Practice (note 33). 233. p. 71. 246: ‘… die Kenntnis dessen zu verschaffen. The Practice (note Zusammenhangs zwischen anschaulichem Sachverhalt und aus irgendwelchen 33). 236: ‘… hinter der Fassade des would have its place only as an ancillary discipline. — Idem. The Practice (note 33). stakes a claim exceptional culture and intellect. idem. Methodisches (note 33). es kann dann aber keine autonome Kunstwissenschaft anything for itself.’ — Idem. 237: ‘[erschöpfe sich] die ‘ideal approach’.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 419 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL (note 33). 71: ‘Art Kunstwerke mitgewusst werden muss. — Idem. rational ground of sensory and aesthetic perception into areas of research that rely intent. there is an understandable temptation to beat a retreat from shaky effects of the artistic imagination entirely to the zone of conscious.’ — Idem. p.’ — Pächt. p.’ — Idem. Formkonventionen.’ Einstellung’. 73: ‘In the face of all this Intendierten. Methodisches (note 33). Methodisches (note 33). p. p.’ — Idem.’ — Idem. — Idem. p. 241: ‘… eine to hegemony by asserting its ability to supply the central insights into the einzige Linie verbindet den aristokratischen Standpunkt der Humanisten meaning of works of art. 315: ‘Ikonographie … ist in Meister Kryptogramme. Wir brauchen Ikonographie zur historians are at hand to lift that artfully woven veil: their true function and Relativierung des in dem betreffen historischen Moment spontan Gewussten. p. ist Mittel zum Zweck. 236: ‘Kunst als Geheimsprache’. p. Methodisches (note 33).’ — Idem.’ Schöpfungen /sind reduziert/ zu visuellen Einkleidungen von Philosophemen. nicht Selbstzweck… Die Rolle. p. The Practice.’ — Idem. 84: ‘In a word. zum Propagandamittel. Gedankeneinkleidung zum Zweck der leichteren Kommunikation oder The Practice (note 33). p. The Practice (note 33). 71: ‘The works of the Herrschaftsansprüche. 236: ‘… im Grunde seien die Schöpfungen der grossen 97 Pächt. The Practice. dass der Nachweis des faktischen 87 Pächt. Methodisches (note 90 Pächt. 236: ‘… die Kunstwerke … Unfestigkeit ist die Verlockung verständlich. 242. The Practice (note 33). 95 Pächt. The Practice (note 33). and that it ultimately does no more than illustrate what has oder Kunstgeschichte mehr geben. 73: ‘If it were true that the 82 Pächt.’ — Idem. it is concluded a priori that visual art never invents [betrieben werden].’ (note 33).’ largely on written sources and consequently seem to promise a greater measure 86 Pächt. 69) and indirectly accepted the raison d’etre künstlerischen Schaffens in der Erfindung gefälliger und darum iconologist objection that a formal (and one might add structural) wirksamer Formen der Ideenvermittlung. The Practice (note 33). damit wir das Kunstwerk in der richtigen Optik sehen. — Iconology. to make them 96 Pächt. p. indem sie behauptet. Methodisches (note 33). p. Methodisches (note 33). 85: ‘… to present the most outstanding creations of Practice (note 33).’ — Idem. — Idem. that we need to know about before we can see the work in the right light…’ die Kunst nach dieser Auffasung spielt … kommt … nahe … bis zur Degradierung Pächt thus completed his structuralist premise of a timelessly valid. — Idem. Such an interest 84 Pächt. p. The Practice (note the history of ideas. p. The Practice (note 33). p. — erbringen ist und man sich so auf noch unvergleichlich schwankenderen Grund Idem. 84. Methodisches (note Personlichkeiten überregander Bildung wie Intellekts für die Intelligentsia 33). p. Methodisches (note 33). die entscheidenden Aufschlüsse masters are basically cryptograms. greater opportunities for rational formulation. 250: ‘Diese fremde Sehgewohnheiten anzueignen. The Practice (note 33). The Practice (note 33). zu Symbolisierungen rationaler Sinngehalte.’ Kunsthistorikers … er hätte den Schlüssel zur Dechifrierung des Dargestellten 101 Pächt. … als Spezialgebiet einer umfassenden Semantik oder Symbolforschung It seems this was the reason Pächt admitted that iconology had a role . The The Practice (note 33). p.’ zulässig…’. p. Methodisches (note 33). 77. Methodisches (note 33).’ mission is as the revealers of occult things. p. 235: ‘die Funktion des 33). über ihre eigenen Werke … sind kein verlässlicher Wegweiser. p. 76. 73. Methodisches (note 33). Methodisches (note 33). 85: ‘… to relegate the operations or uncertainty. p. p. p. But there 33).’ 100 Pächt. — Idem. 72: ‘It is a means objective approach suited to the structure of the work of art (‘adäquate to an end.’ 89 Ibidem. von dem schwankenden Grund seien nicht … der Ausdruck einer Idee oder ihre Einkleidung. The Practice (note 33). forms in which to convey ideas. p. demzufolge die Meisterwerke der Genies von 98 Pächt. 71. has come Consequently ‘Works of genius are designed for intelligentsia by persons of of age over the last few years and. 71. p. to be decoded only by those initiated into über den Sinngehalt der Kunstwerke erbringen zu können. 71. could be no autonomous discipline of art studies or art history. Pächt. p. dann … könnte Kunstgeschichte analysis rests on a metahistorical conception of form and perception. p. translated into English as an 93 Pächt. p. 141: ‘For iconography. was im Sehen historischer Enthüller von okkulten Dingen. a special case of general semantics or symbology. Methodisches (note 33). The Practice (note raison d’etre of artistic creation is to devise pleasing (and therefore effective) 33). 236: ‘Die Kunsthistoriker … 33). 86. 238: ‘Angesichts all dieser 85 Pächt. 236. 71. The Practice (note 33). according die im wesentlichen mit Schriftquellen operieren und so anscheinend ein to Pächt. p. 71 94 Pächt. um ikonographische Konventionen müssten erarbeitet 92 Pächt. 52. unserem Sehen ist und dieses Wissen als eine Brille fungiert. 69. Bd. 69. 106 Pächt. Methodisches (note from 1903 (Das Rätsel der Kunst der Bruder van Eyck). p.420 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 to play in complementing the structural genetic method. Badt talks of a ‘“Historik”der Kunstgeschichte’. p. The Practice (note 33).e. Methodisches. Štyri trasy 124 Ibidem. 285:‘Tradierung von Formeln. 23. Methodisches. 243. — See Bakoš.’ Idem. — Idem. 203: ‘Gestaltungsprinzipien’. 282–283. Methodisches. The Practice (note 33). he considered this evolutionary The Practice (note 33). Beiträge zur Kunst und 103 Pächt. p. 285:‘Kontinuität der 129 Pächt. The Practice (note 33). Štyri trasy (note 72) p. Jahrbuch für Ästhetik und allgemeine Kunstwissenschaft. 249. but because they developed in parallel owing to a common 107 Pächt.’ — Idem. Eine Wissenschaftslehre 105 In the words of Albert Kutal: ‘An art work from the 15th century. so muss sie aber ausnahmslos auf dem Vorweisen von 111 Pächt.’ — ‘… in unseren Augen sind die frühere Erfahrungen 127 Bakoš. London 1946. 121. so wäre die Kunst überflussig und das betreffende zwischen dem Stil des Einzelkunstwerks und dem Stil seiner Zeit…’. Republished in: Bakoš. p. For more on the debate between Otto Pächt and 130 Pächt. 273. nach gilt für die Geschichte der Kunst: Am Anfang war das Auge. p.’ — Also cited in Pächt (note 56). 102 See Heinrich Wölfflin.’ — Idem. 69.’ ibidem. The Practice. The concept of ‘Formgelegenheit’ (formal opportunity) was also with one of the plurality of different genetic series. p. — Idem. The Practice (note 33). Kutal a ‘work of art is something entirely unique’. and its Connection Practice (note 33). sondern immer nur um-schreiben. Štyri trasy (note 72). p. by 1913 Dvořák had already (in his review of 297–298. 487–488: ‘Wir können das innere Leben eines Stiles eines Kunstwerkes Einmalige des betreffenden Werks’.’ ibidem. p. 121. 646. 7: ‘For I am convinced that. pp. Štyri trasy (note 72). unschuldige Augen gibt es nicht. However. 295–296: ‘Die historische Aufgabe stellt … das Verbindungsglied … den “tiefsten Gedanken. p. ‘autonome Ausdrucksphäre’. emphasises ‘das Besondere. p.’ — Idem. the evolutionary relationship as uninterrupted and founded in the 117 Pächt’s commentary in Methodisches (note 33). 79. ungemeisselt. The Kriterien. see W. 285. Like Riegl. must base all its statements on specified criteria. Methodisches (note 1946. pp. Methodisches (note 33). 231: ‘Will die Kunstgeschichte Formkonventionen. with Political and Social Circumstances from the Earliest Times to the Present 109 Pächt. Methodisches (note 33). — Idem. Hermann Bauer. p. begrifflichen Formulierung bestehen. if art history is ever to be a scholarly discipline at all. Kurt Badt and Hermann Bauer. p. der Kunstgeschichte. Droysen.’ — Idem.und Denkgewohnheiten. p. 118–119. See Kurt Badt. Metamorphoses Practice (note 33). p. mit wissenden Augen. it really Originalität. Köln 1971. sensualism). — Ernst Gombrich. in: Horizonte. 37. 131 See Kutal’s opus magnum. p. 132. Methodisches (note 33). pp. p. p. 120 Pächt. 140. — Idem. The Practice (note 33). of Jacob Burckhardt’s Legacy. 11. Pächt. p. which could occur used by another leading representative of the evolutionary approach. p. In his writing on the art of van Eyck brothers 116 On this see Pächt’s commentary in Pächt. p. Methodisches (note 33). — Idem. 285. 243:‘… unsere Sehorgane [sehen] Day. pp. and it must formulate them in conceptual terms.’ See Bakoš. pp. p. pp. p. 121. p. p. The 126 Bertrand Russel. p. affinity between works of art. eine Wissenschaft sein. Pinder. The notion of linear development was replaced 33).’ and the young Max Dvořák. 345–352.’ the other. 132 The main representatives of evolutionary approach who saw 115 Cited in Pächt (note 46). — Idem. M. p. 110 Pächt.’ — Idem. p. 69. Die deutsche Plastik vom ausgehenden Bandmann’s critique of the ahistorical or presentist view of art in formal Mittelalter bis zum Ende der Renaissance. p. The metamorphosis of the concept of ‘Aufgabe’. Methodisches (note 33). 107. Methodisches (note 33). p. 191: ‘Seh. p. ungemalt bleiben dürfen’. Methodisches (note 33). p. so the idea of . p. pp. p. 121. pp. Jacob Burckhardt. The Practice (note 33). 173. The Practice (note 33). 285. 78. 276: ‘… even Weltanschauungen “are continuity as an expression of the universality of art history and as not produced by thinking” (Dilthey). The Practice (note previous conception. L. The noticeable similarity in where the history of art is concerned. 314: ‘Könnte man 33). 121. History of Western Philosophy. while. spoken of as an “autonomous expressive sphere. die Idee eines Kunstwerks” uberhaupt in Worten dar sowohl zwischen der individuellen und der allgemeinen Entwicklung wie vollständig wiedergeben. 273. 1924. Methodisches (note 33). 263: founded on the causal relationship between works of art were Alois Riegl ‘Weltanschauungen sind nicht Erzeugnisse des Denkens. — Idem. 84: ‘… is Discourses (note 17). 105–106. 7. Methodisches (note 33). p. see Ján Bakoš. p. The Practice (note 33). refers to visual art as Kunstwissenschaft. Gothein’s Geschichte der Gartenkunst. Zürich 2001. p. p. and 133–134. The Practice. p. 67: 112 Pächt. Eine kritische Einfuhrung in das Studium der Kunstgeschichte. 114 Pächt. 217. 121 Pächt. The Practice 1962. — Following on from Johann Gustav let’s say. The Practice (note 33). Vorwort:‘Denn meiner Überzeugung Kunsthistorik. relationship to be proof of the rational identifiability of the historical 118 See Pächt. České gotické sochařství 1350–1450 (note 75). Methodisches. forever keeps its singularity. in the beginning was the eye. 56–68. note 12) radically altered his 119 Pächt. Štyri trasy (note 72). p. Kutal made his statement in l973. 41. it was not published until 1977. p. cross over or even return to previous stages. pp. Methodisches (note 33). — Idem. in parallel. and evolution of art.”’ 122 See Werner Kaegi. see Bakoš (note 17). Preface. 86: nie eigentlich beschreiben.’ According to Albert 123 Bakoš. — On the Werk hätte ungebaut. dem Begründen aller Einsichten und Erkenntnisse sowie auf ihrer Practice. 269–270. p. Das Erklären von Kunstwerken. Wort. I use the term ‘Kunsthistorik’ in the same sense as (note 72). p. The Practice (note 33). 1. p.’ — Idem. although Pächt articulated his credo in his 1970–1971 university 108 Pächt. 125 Bakoš. the credos of Kutal and Pächt did not arise because one borrowed from not the word. Methodisches (note 33). Wildpark-Potsdam analysis in his Das Kunstwerk als Gegenstand der Universalgeschichte. Cited in Pächt. The Practice (note 33). 128 Ibidem. nicht das München 1976. 206:‘… immer schon Wissen in lectures. II. 242: ‘Sehen ohne Wissen …ganz intellectual genealogy (i. p. 285: ‘… eine Geschichte des Kopierens. 121. Dvořák described 33).’ ‘We become aware of its [the work of art’s] uniqueness. 69. Methodisches (note 33). 152–155. — Idem. 109. — Idem.’ — insights and discoveries. The Practice. It must give reasons for all its 113 Pächt. Bd. — Idem. (note 33). 285: ‘… das wahrhaft Schöpferische … die ‘All the same.’ — Idem. p. Eine Biographie 104 Pächt. 252. p. eingebildet. Methodisches (note 33). 109. See Günther Wilhelm Pinder. Berlin this statement. 69. p. The Practice (note Forschungen I. 4 talks of Pächt’s inclination ‘zur Äusserungen dadurch. Kapitoly z českého dějepisu umění II. reliant on Kutal’s reference to the ‘national principle.’ Evidence of this was found in the German 142 Albert Kutal. note 12. to determine its validity. See Ivo Hlobil’s critical review of Bartlová’s book in national community (nation-state?). where otázkách českého sochařství první poloviny 14. Methodisches (note 33). 69–107). artistic entity. Methodisches (note 33). Kutal characterises ‘active assimilation’ as the ‘ability to of Art. 82. 269–270). nicht in sie aus anderen Gebieten hineintragen.) Thus Dvořák cast doubt on the very existence and ontological no. p.e. überprüft werden muss. Lebendiges. in: Pächt. The New Viennese School. Alexander. in methodology. The Practice (note 33): ‘I said earlier that Design Principles of Fifteenth-Century Northern Painting. die sie 133 Ján Bakoš. which he characterises the struggle between the Czechs and the Germans 1963. 243–321.’ Compared to this Kutal’s understanding of constants is emanating… into near and distant lands’ as evidence that Gothic art was not clearly ‘nominalist’: The constant of (‘Bohemian Gothic art’) is founded imported into ‘the Czech lands’ but emerged as an autonomous artistic in evolutionary continuity. such as Austrian Gothic panel painting) in the sense 134 Milena Bartlová. constants. also auch jede Stilerklärung oder Bildinterpretation 135 Otto Pächt. Naše. Chicago 2004. but also in the in: Rudolf Chadraba et al. 12. The Practice (note 33). living entity. p. 8. Viedenská škola a český dejepis umenia. Methodisches (note 33). — Idem. Kunstwissenschaftliche Invariante (ist) etwas Dynamisches. where similarity and external continuity are not determining 138 Pächt. 94. Thomas DaCosta Kaufmann notes in his Toward a Geography Praha 1972. 7. Methodisches (note 33). Ars 1982. pp. 124. 30: ‘The struktureller Konstanten’. und auf ihre wissenschaftliche Haltbarkeit des 15. dass es die Verifizierung aufgestellter Hypothesen als generellen Strukturanalyse grosser Kunstbereiche. 124: ‘… this constant.UMĚNÍ ART 5 LXII 2014 ČLÁNKY ARTICLES 421 JÁN BAKOŠ OTTO PÄCHT AND ALBERT KUTAL unitary evolution was possible ‘only from a great historical distance’. no. Internal affinity is seen as an evolutionary tendency 33). — Idem. Studie z dějin dějepisu of a territorial tradition that underwent gradual formation (i. pp. Štyri trasy (note 72). p.’ 136 Pächt. 2010. 168–217. 139 Pächt. Šedesát let Alberta Kutala. 3–4. 196: ‘Das wissenschaftiche (note 33). Jahrhunderts. refers to this strand of Pächt’s conception as from the formulation and enunciation of purely private opinions in that it ‘die Frage der nationalen Konstanten’. Hence (regional) tradition.’ — Idem. The Practice 144 Pächt. Methodisches (note 33). 33. and not only ‘in the unusual trasy /note 72/. 456–457. Praha fact that ‘the [multinational] cultural milieu that was created was resilient 1987. 301–309. 54. 17–58. p. Úvahy o umeleckohistorickom stanovisku on Czech territory as a positive factor in the development of art: ‘This Alberta Kutala. artistic organism was not nationalistic but state or territorially derived is 140 On Kutal’s conception of art history and art history evidenced in the introductory passage in his synthesis (ibidem. p. but also gradually becomes particular to the domestic moreover an ability to enrich international artistic developments. or as a stable creative to a nationalistic perspective. In relation to Pächt’s conception of Umění LVIII. — Idem. pp. The author emphasizes Kunst’: ‘Der Begriff einer “böhmischen gotischen Kunst” erfasst … diese the similarity between Kutal’s epistemological prudence and Situation eigentlich besser als … Begriff “gotische Kunst in Böhmen”. 228: ‘… diese Konstante oder (Die historische Aufgabe Michael Pachers. p. Die that they come from. he is concerned not with an ‘Gothic art in Bohemia’. Brno 2009. see Jonathan J. as umění. and from the genealogical sequences Europe. Methodisches (note 33). pp. internal evolution and work of art. pp. České gotické umění. — Zuzana Všetečková-Plátková. reduces Kutal’s interpretation of Czech Gothic art in the wider sense of a geographic ‘school’). See also Bakoš. Prag 1971. 255–256. no. 5–11. that: ‘Otto Pächt demonstrates that one can absorb foreign stimuli and transform them into a locally determined specific believe in national constants without subscribing to racial explanations form’. 69. affinity’. wissenschaftliche These. pp. p. the author did not use the term ‘tschechische’ but ‘böhmische gotische 1973. p. pp. pp. — Rudolf Preimesberger in Otto Pächt zum Gedenken. Štyri competition also had positive consequences’. 1. both in the natural sciences and in the humanities. it is not altogether clear whether Pächt tended more 2004. which not only develops from each organism characterised by its specific nature. G. p. Albert Kutal. it cannot be imported from other fields.’ (‘Entwicklungstendenz’) relating to the sense of direction (‘Richtungssinn’).’ . 120–143 (reprinted in: Bakoš. 488. p. (See 137 Meyer Schapiro.’ Thus Kramář’s concept of ‘relative objectivity’. století. Otto Pächt 1902–1988 (note Dvořák’s original idea of continuity by introducing the notion of ‘internal 19). This then affects further occurrences. Trans. 407–410. zum analytischen Erfassen unabdingliche Pflicht betrachtet. s. Paths and Strategies in the Historiography of towards a ‘nominalist’ or an essentialist conception of constants. 288. 1988. is a dynamic. in: Robert Born — Alena Janatková — Adam S. Labuda (eds). Gestaltungsprinzipien der westlichen Malerei ist zunächst nur eine Hypothese. In the early 1930s Otto Pächt revised and Pächt. Or Art in Central Europe. no. 8). Paths and Strategies (note 133). in: Pächt. The Practice (note 33).’ — Idem. herausholen. Moreover in his proposal that one should speak of ‘Bohemian Gothic art’ rather than of Kutal’s theory. Umění XXI. this invariable. p. p. p. 202–203: ‘… jede state territory. Kutal considered this ability along with the ‘creation of specific values for them. 2010. 299: ‘Man muss die Definition (See Pächt. Umění XI. Verhalten unterscheidet sich nun von bloss privaten Meinungsbildungen und Kunsthistoriker V. O reliéfu od Panny Marie Sněžné a některých version of his synthesis of Gotische Kunst in Böhmen. rigorous approach. 105. locally determined specific forms. 2. — See also Bakoš (note 72). — In his synthesis. From Universalism Idem. pp. 258–266. On the exchange of opinions between Schapiro nature of evolutionary continuity. národní umění. implies an absolute obligation to verify hypotheses once stated. — Ján Bakoš. — Artur Rosenauer. Einleitung. 136: ‘The definition of the constants must to Nationalism: Transformations of Vienna School Ideas in Central arise from the works themselves. Kutal used ‘böhmische’ as an adjective to identify a geographical area or 143 Pächt. 86–92. 1998. That Kutal’s conception of a relatively autonomous ethnic but with a territorial state definition of an artistic entity. Methodisches /note 33/ pp. which basically belongs to (is inherent in) a particular psychology of the era’.. growth in the spiritual culture of Czech … including the arts’. see Jaroslav Pešina. 18 (1936). as already stated (note 134). ARS XLIII. p. p. der Konstanten aus den Kunstwerken und den genetischen Reihen. enough to be capable of absorbing foreign stimuli and transforming them into 141 Bakoš. no. pp. p. Art Bulletin. differs Methodisches (note 33) p. Reprinted in: Bakoš whether he saw constants (as a common ‘Gestaltunsprinzip’ of a national (note 17). in: Wood (note any scholarly thesis … begins as no more than a hypothesis and has to be tested 18).’ — Moravské galerie v Brně. pp.’ — Idem. Bulletin bilden. p. p. 1931).’ Despite Kunsthistoriographien in Ostmitteleuropa und der nationale Diskurs. sondern aus der respect. While the iconologists considered the projection perspectives held by Pächt and Sedlmayr was pointed out in Rosenauer. Einleitung (note 136). pp. projected modernity in their investigations into art history in his Die culate pattern in the mind. Albert Kutal (1904–1976). who was professor 33). Rembrandt (München 1991) late antiquity and expressionism enabled Max Dvořák to discover and Altniederländische Malerei: Von Rogier van der Weyden bis Gerard David Mannerism. it represents the von Schlosser noted that the representatives of the Vienna School main alternative approach. p. see footnote) to his knowledgeable Riegl. 301–309.2. introduction to Buchmalerei des Mittelalters (München 1984).’ Jeremy Tanner. 124: ‘In our present state of knowledge. Otto. Baxandall. a means of ‘opening up relation to this: ‘Pächts Überlegungen zur Methode sind nicht nach abstrakten one’s eyes’ to the values of old art that had gone unnoticed. Margaret Olin in Forms of Representation in výtvarného umění I/1. … one comes away from it with a complex but arti. 152). his synthetic summary of České gotické umění (Praha 1972) and his it was not just about awareness through affinity but also about chapter on Gotické sochařství in the collected synthesis of Dějiny českého projecting difference.422 ČLÁNKY ARTICLES UMĚNÍ ART 5 LXII 2014 145 Pächt. pp. . Köln 1971. — Entry Pächt. I thank Ingrid Ciulisová for School and modern art trends. pp. Comparing Albert Kutal’s Gotische Kunst Alois Riegl’s Theory of Art. 454–455. 19). representatives of the Vienna School considered it to be a legitimate 149 See note 7. 6. Eine Wissenschaftslehre der Kunstgeschichte. p. p. 4. On the relationship between the Vienna to European Art Since 1890 (Nov. the evolutionary test is the more of art history at Brno University. See Alexander. Special Issue Devoted H. Sculpture and Painting by Erich Bachmann. 13. 62. and the no.’ Julius and sculpture. pp. a genuine orientation. — Wendland (note Bemerkungen (note 19). p. ‘falsifying historical sources’ (see Bandmann /note 101/. 117. České umění gotické I (Praha 1949). From Art History To The Sociology Of Culture. Hamburg 1958. pp. 470–471. Albert Kutal studied under and und vorderhand wohl auch der verlässlichste. H. see Edwin Lachnit. die Begründer der that enabled Franz Wickhoff to rehabilitate the optical values of altniederländischn Malerei (München 1989). The Burlington Magazine. Matějček. 119.’ artistic inclinations as potentially distorting our understanding of the 150 For Otto Pächt this was a road leading from Österreichische art of the past … Riegl sees affinities and tensions with the art of the past Tafelmalerei der Gotik (Augsburg 1929) and his pioneering Die historische rooted in contemporary taste as being the very condition of productive Aufgabe Michael Pachers (1931) and Gestaltungsprinzipen der westlichen engagement with the past. Review by: Michael Instituts für Geschichtsforschung.’ — In this respect Artur Rosenauer (note 19). Art History 32. p. Van Eyck. Methodisches (note 33). 146 Hans Tietze. Ergänzungs-Band Innsbruck 1934 XIII. 760. Otto Pächt — Stuttgart — Weimar1999. Zum Gedenken (note 19). Eugen Dostál. p. 292–294. 148 Kurt Badt. characterises in Böhmen published in English at Prague in 1971 with Gothic Art in Bohemia Riegl’s model of art history knowledge as a‘dialogue with the past’ based edited by Erich Bachmann Michael Baxandall stated: ‘Kutal is by any on ‘the disjunction between his [Riegl’s] historical position as a subjective reckoning the most accomplished recent scholar of Bohemian Gothic painting modern and his speaking position as an advocate of objectivity. 171–172. it was impressionism posthumous publication of his syntheses. of modernity onto the history of art to be a distorting presentism. and his book is not only the main competition. Pächt and Kutal were loyal followers der Kunstgeschichte. Jahrhunderts (1933. 781. 288: ‘Bei dem heutigen Stand 151 Otto Pächt began his art history studies under Max Dvořák and der Forschung ist der entwicklungsgeschichtliche Test der gebräuchlichere graduated under Julius von Schlosser. to his monumental and While for Wickhoff and Dvořák. even Alois Riegl. This distinct difference in the of the Vienna School. Indeed. Die Wiener Schule der calling my attention to Baxandall’s review. 189. September 2009. Mitteilungen des Österreichischen Architecture. 199–200.’ — Idem. states in and constructive epistemological resource. Pennsylvania 1992. Praha 1984. Otto Pächt 1902–1988 common and the more reliable of the two. In Kutal’s case the path led from his overview of Gotické impossibility of achieving his ideal of an impartial art historian with sochařství v Čechách a na Moravě (Praha 1942) and his chapter on Sochařství no sense of taste owed his ability to appreciate the ornamental values in an edited collection by Albert Kutal — Dobroslav Líbal — Antonín of late Roman and early medieval art to Jugendstil and Secessionism. — Rosenauer. 896. Karl Mannheim and Alois Malerei des 15. Vol.’ See Gothic Art in Bohemia: Wiener Schule der Kunstgeschichte. for Riegl 1962). As we know. p. — Všetečková-Plátková (note 140). in: Peter Betthausen — states: ‘Und die wesentliche Kontrolle bleibt für ihn [Pächt] die Einbindung des P. The Practice (note was successor to Max Dvořák’s pupil. Feist — Christiane Fork (eds). Wien — Köln — Weimar 2005. In this Prinzipien als Systematik der Kunstgeschichte konstruiert. projecting contemporary art onto hitherto unsurpassed synthesis of České gotické sochařství 1350–1450 (Praha old art meant gaining an awareness through affinity. Jeremy Tanner stated: ‘Where Panofsky saw contemporary Praxis heraus … entstanden. Leipzig 1913. Methode der Kunstgeschichte. Kunstgeschichte und die Kunst ihrer Zeit. Zur Theorie und Methode 153 In this respect as well. 152 Otto Pächt (1902–1988). 1977). no. Kunstwerkes in den historischen Zusammenhang. Metzler Kunsthistorikerlexikon. p. despite his being aware of the (München 1994). p.’ Rosenauer. 147 Hans Sedlmayr. Kunst und Wahrheit. no. r. Kutal (1904-1976). 18 (1936). see Edwin Lachnit. In 1934 (see a letter to Meyer Schapiro. 258–266. Lebendiges. H.LV. a means of ‘opening up one’s eyes’ to the values of old art that had gone unnoticed. Methodisches (note 33). About methodological parallels between Otto Pächt and Charles Sterling (1901. Labuda: ‘Oko.. While for Wickhoff and Dvořák. On the exchange of opinions between Schapiro and Pächt. Die Wiener Schule der Kunstgeschichte und die Kunst ihrer Zeit. in Journal of Art Historiography.. Aurenhammer. Karl Mannheim and Alois Riegl. G. it was impressionism that enabled Franz Wickhoff to rehabilitate the optical values of late antiquity and expressionism enabled Max Dvořák to discover Mannerism. for Riegl it was not just about awareness through affinity but also about projecting difference. On the relationship between the Vienna School and modern art trends. Biuletyn Historii Sztuki. 760./ and gives the impetus for further development. slowo.1991) see Adam S. is a kind of common ideal that the artists have in vague forms in their minds. Margaret Olin in Forms of Representation in Alois Riegl’s Theory of Art. (See Max Dvořák´s lectures Geschichte der abendländischen Kunst des Mittelalters (1917/18): ‘Es ist eine alte Bindenwahrheit. 171–172. Otto Pächt 1902–1988 (note19).’ — Idem. Pächt and Kutal were loyal followers of the Vienna School. Jeremy Tanner stated: ‘Where Panofsky saw contemporary artistic inclinations as potentially distorting our understanding of the art of the past … Riegl sees affinities and tensions with the art of the past rooted in contemporary taste as being the very condition of productive engagement with the past. The Practice.. ‘falsifying historical sources’ (see Bandmann /note 101/. ‘Max Dvořák und die Revision der Mittelalter-Kunstgeschichte’ in: Die Etablierung und Entwicklung des Faches Kunstgeschichte in Deutschland.2. 1993 (4). Art Bulletin.Charles Sterling i Otto Pächt’. see Jonathan J. 117. dass die Gegenwartskunst uns (.Addenda 137 Meyer Schapiro. 456–457. projecting contemporary art onto old art meant gaining an awareness through affinity. While the iconologists considered the projection of modernity onto the history of art to be a distorting presentism. Alexander.e. For calling my attention to these parallels I owe thanks to the author.Pächt (1902-1988).’ Julius von Schlosser noted that the representatives of the Vienna School projected modernity in their investigations into art history in his Die Wiener Schule der Kunstgeschichte. Wien — Köln — Weimar 2005. 32 (4). Wojciech Balus & Joanna Wolańska. 152).’ Jeremy Tanner. note 137).g.. 189. even Alois Riegl. Pächt conceived of ‘national constants’ as transpersonal artistic intentions i. characterises Riegl’s model of art history knowledge as a‘dialogue with the past’ based on ‘the disjunction between his [Riegl’s] historical position as a subjective modern and his speaking position as an advocate of objectivity. 152 O. ‘Reconsidering Meyer Schapiro and the New Vienna School’. 153 In this respect as well. Consequently. ‘From Art History To The Sociology Of Culture’. Indeed.) die Augen für die künstlerischen Absichten der Vergangenheit öffnet. identical to Riegl´s national ‘Kunstwollen’ (e. Polen und Mitteleuropa. obraz. ed. A. representatives of the Vienna School considered it to be a legitimate and constructive epistemological resource. This ideal more or less consciously guides the formation process /. December 2010. Art History. 4 October 1934) Otto Pächt defined ‘national constants’ as follows: ‘This constant factor . . ‘The New Viennese School’. Warszawa 2010. 300. 3. 138 Pächt.’ (Persinger. 228: ‘… diese Konstante oder Invariante (ist) etwas Dynamisches. 199–200.) In this respect. p. Ergänzungs-Band Innsbruck 1934 XIII.’ Quoted according to Hans H. September 2009. despite his being aware of the impossibility of achieving his ideal of an impartial art historian with no sense of taste owed his ability to appreciate the ornamental values of late Roman and early medieval art to Jugendstil and Secessionism. Pennsylvania 1992. As we know. Mitteilungen des Österreichischen Instituts für Geschichtsforschung. ‘holländisches Kunstwollen’).. Cindy Persinger.. 341-366.