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DOI Artikel:Scarrocchia, Sandro: Dvořák and the trend in monument care
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31179#0047
ŠTÚDIE / ARTICLES
II.
ARS 44, 2011, 1
Dvořák and the Trend in Monument Care^
Sandro SCARROCCHIA
D gp FA7/o7?P
1. The Point of View
Wilhelm Koehler and Dagobert Frey in their
nécrologies in remembrance of Max Dvorak
highlighted the fact that the outstanding feature of
their master's lesson was to have clearly identihed
in Contemporary art, despite the little work speciR-
cally dedicated to it, the cultural power that moves
the assessment and critical reconsideration of the
art of the past and, therefore, the need to care for
itf Amongst the few art historians who have con-
sidered the work of Dvořák as a whole, Jaromír
Neumann, in the reconstruction of the signihcance
that it still had at the beginning of the 1960s, noted
that /Pí* /Přogy gp 77707777777^77/ Mro, A Typ^ A? R7gg/(
P77/ <%/ /Po .M/W /77770 77777/ Aoyo/gpj /P<? ro77rgg/ ^777/0
777 A4 gp/777'077, 7^P/%/ 7777/77^ 77777/ T77//Po7Ač'.i* 77r
/o Mrř p7* 77707777777077/7 A 770/ 077p/ /Po âge value, P77/ 77707^0
/Po contemporary value /P<%/ PA A /Po ^A'P'p/ op /Po
op ^r/ op /Pop)/?r/ /o <%o/ 077 0077/07777)07^777^ /77770J 777 77
Pho/y 7777F 777/07700 %pp'P Neumann refers to Dvořákh
review of the values in his essay "Denkmalkultus
und Kunstentwicklung" (Cult of the Monuments
and the Development of Art), and continues thus:
I wish to thank Giuseppe Arcidiacono fot reading the text and
for his éditorial suggestions, Bernhard Kohlenbach, Fausto
Savoretti and Irene Scarcella for the illustrations.
' As Tilmann Buddensieg remembers in the conclusion to his
"Die Karolingischen Maler in Tours und die Bauhasusmahler
in Weimar. Wilhelm Koehler und Paul Klee", a manuscript
of the Conference held in December 2006 at the Zentra-
linstitut für Kunstgeschichte of Munich and in November
2007 at the Institut für Kunstgeschichte of the University
of Vienna, with reference to KOEHLER, W: Nachrauf auf
"f/ 77MS* /PA 7707gt /PoAf, TTtPAP Pátí* 777?/ p0077 T7;/o^7M/o/t 777-
^OO/pM/Ot/ Of 0077Ao/orOp, /Pt?/ J*00777J* /0 7*077/77777 77 T*077r7Af77pA
7770077/Ao pOf 0077/0777pOfT7rt 777077777777*77/ 0^00.' 777 /PA 0077/000p
D^o/PP o77y)pT7rAoA /Po 77707777777g op /Po <%r/A/A M%/ho ^7777/
077077 W/P077/ 7^0T70p777g 077gt JOT"/ Op t/op777'/Ao /Po07"0/Ao7/ 00p7-
/7077 /0 /Po 77^PoAPA 7pr07*/7077 0p PA
J*Ao77ppO 7/0770/7^/77077/ 7'777pM/0 /Po /077^7tA 77 770777 /Poogy 0p
77707777777077/ 0T77"0. INoAZ/P /77A7D/0A /P77/ 777O7777777077A 777770/ 770/
077p Po 0077J*7'Aof07/pf0777 77pOf/W/Ap0777/ 0p M07R 770 Ro'og/ Aooo
7^pp7"007h/777g 777g)o7r/A77p7f /Po /777000 0p /77770, p77/ 0077/077^07^77^-
7p7 ^77^ 77pO^O 07/7/00777 /Po^70777/ 0p o/ /PoA 0077/077p 0p /Po
7777A07VA7777/777g o/ /Po PA/oAoo?/ 7770777077/0 0777^ /Po 0077y)/o^
J*7g777/70T77700 0p /Po /Aoo70, 7M/P 77pAP /Po 7W7"C 07Xp7^00000 Ai
777000o7g0, 7*/0 7^0/h/7077rPÿ) 7^7/P /Po 077077*077777077/ 77777/ Ao 7777-
Aor/777700 /ör co77/o77y)ofT7ry /777700."*' In this way, Dvořák
is recognised for having highlighted the importance
of the artistic value and the role of contemporary
acceptance, not as the acquisition by a modern sen-
sitivity of dogmatically Consolidated values, but as
a possibility and expérience to transform the data
themselves, starting from an adéquate considération
of their modem acquisition. Ail this, it should be
noted, does not constitute a novelty compared with
Riegl's framework of values: in Riegfs contemporary
value, this prospect had already been anticipated
and seen as the conHicting basis of restoration as
Max Dvořák. In: Mb%/A77g072 Ai Ki/i7%/_p/r GřiA/fAi/AvP%%g,
29,1923, pp. 314-320; and FREY, D.: Max Dvoráks Stellung
in der Kunstgeschichte. In: tTAwor/AAwAgi/r K/vwi/goiAoAto,
1, 1922, pp. 1-21. Buddensieg reconstructs the influence of
Klee and Kandinsky in the reappraisal of the miniatures of
Tour made by Koehler on the basis of Dvorâk's teaching.
^ NEUMANN, J.: Das Werk Max Dvořáks und die Gegenwart.
In: M0A2 H/i7<wAHn7%w, 8, 1962, Nos. 3-4, pp. 177- 213.
' Ibidem, p. 192.
45
II.
ARS 44, 2011, 1
Dvořák and the Trend in Monument Care^
Sandro SCARROCCHIA
D gp FA7/o7?P
1. The Point of View
Wilhelm Koehler and Dagobert Frey in their
nécrologies in remembrance of Max Dvorak
highlighted the fact that the outstanding feature of
their master's lesson was to have clearly identihed
in Contemporary art, despite the little work speciR-
cally dedicated to it, the cultural power that moves
the assessment and critical reconsideration of the
art of the past and, therefore, the need to care for
itf Amongst the few art historians who have con-
sidered the work of Dvořák as a whole, Jaromír
Neumann, in the reconstruction of the signihcance
that it still had at the beginning of the 1960s, noted
that /Pí* /Přogy gp 77707777777^77/ Mro, A Typ^ A? R7gg/(
P77/ <%/ /Po .M/W /77770 77777/ Aoyo/gpj /P<? ro77rgg/ ^777/0
777 A4 gp/777'077, 7^P/%/ 7777/77^ 77777/ T77//Po7Ač'.i* 77r
/o Mrř p7* 77707777777077/7 A 770/ 077p/ /Po âge value, P77/ 77707^0
/Po contemporary value /P<%/ PA A /Po ^A'P'p/ op /Po
op ^r/ op /Pop)/?r/ /o <%o/ 077 0077/07777)07^777^ /77770J 777 77
Pho/y 7777F 777/07700 %pp'P Neumann refers to Dvořákh
review of the values in his essay "Denkmalkultus
und Kunstentwicklung" (Cult of the Monuments
and the Development of Art), and continues thus:
I wish to thank Giuseppe Arcidiacono fot reading the text and
for his éditorial suggestions, Bernhard Kohlenbach, Fausto
Savoretti and Irene Scarcella for the illustrations.
' As Tilmann Buddensieg remembers in the conclusion to his
"Die Karolingischen Maler in Tours und die Bauhasusmahler
in Weimar. Wilhelm Koehler und Paul Klee", a manuscript
of the Conference held in December 2006 at the Zentra-
linstitut für Kunstgeschichte of Munich and in November
2007 at the Institut für Kunstgeschichte of the University
of Vienna, with reference to KOEHLER, W: Nachrauf auf
"f/ 77MS* /PA 7707gt /PoAf, TTtPAP Pátí* 777?/ p0077 T7;/o^7M/o/t 777-
^OO/pM/Ot/ Of 0077Ao/orOp, /Pt?/ J*00777J* /0 7*077/77777 77 T*077r7Af77pA
7770077/Ao pOf 0077/0777pOfT7rt 777077777777*77/ 0^00.' 777 /PA 0077/000p
D^o/PP o77y)pT7rAoA /Po 77707777777g op /Po <%r/A/A M%/ho ^7777/
077077 W/P077/ 7^0T70p777g 077gt JOT"/ Op t/op777'/Ao /Po07"0/Ao7/ 00p7-
/7077 /0 /Po 77^PoAPA 7pr07*/7077 0p PA
J*Ao77ppO 7/0770/7^/77077/ 7'777pM/0 /Po /077^7tA 77 770777 /Poogy 0p
77707777777077/ 0T77"0. INoAZ/P /77A7D/0A /P77/ 777O7777777077A 777770/ 770/
077p Po 0077J*7'Aof07/pf0777 77pOf/W/Ap0777/ 0p M07R 770 Ro'og/ Aooo
7^pp7"007h/777g 777g)o7r/A77p7f /Po /777000 0p /77770, p77/ 0077/077^07^77^-
7p7 ^77^ 77pO^O 07/7/00777 /Po^70777/ 0p o/ /PoA 0077/077p 0p /Po
7777A07VA7777/777g o/ /Po PA/oAoo?/ 7770777077/0 0777^ /Po 0077y)/o^
J*7g777/70T77700 0p /Po /Aoo70, 7M/P 77pAP /Po 7W7"C 07Xp7^00000 Ai
777000o7g0, 7*/0 7^0/h/7077rPÿ) 7^7/P /Po 077077*077777077/ 77777/ Ao 7777-
Aor/777700 /ör co77/o77y)ofT7ry /777700."*' In this way, Dvořák
is recognised for having highlighted the importance
of the artistic value and the role of contemporary
acceptance, not as the acquisition by a modern sen-
sitivity of dogmatically Consolidated values, but as
a possibility and expérience to transform the data
themselves, starting from an adéquate considération
of their modem acquisition. Ail this, it should be
noted, does not constitute a novelty compared with
Riegl's framework of values: in Riegfs contemporary
value, this prospect had already been anticipated
and seen as the conHicting basis of restoration as
Max Dvořák. In: Mb%/A77g072 Ai Ki/i7%/_p/r GřiA/fAi/AvP%%g,
29,1923, pp. 314-320; and FREY, D.: Max Dvoráks Stellung
in der Kunstgeschichte. In: tTAwor/AAwAgi/r K/vwi/goiAoAto,
1, 1922, pp. 1-21. Buddensieg reconstructs the influence of
Klee and Kandinsky in the reappraisal of the miniatures of
Tour made by Koehler on the basis of Dvorâk's teaching.
^ NEUMANN, J.: Das Werk Max Dvořáks und die Gegenwart.
In: M0A2 H/i7<wAHn7%w, 8, 1962, Nos. 3-4, pp. 177- 213.
' Ibidem, p. 192.
45