Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (44.2011)

7. OtArKoArAA/PoUrUto/ Aírj. Wo^oáď, 7220,/řo^tAronfi'
Variation on a Theme, porAA 7227. Rpiro.' KOKOTCHW
7227 poo 7% %ot? 72/.

artistic questions and recognises the intertwining of
the pedagogical mission of monument care with a
criticai enterptise. If a préserver can no longer be
^<AtAr o/ /^UA, as Riegl had dehnitively proclaimed,
to be able to exercise his authority he cannot avoid

'* Some suggestions in SETTIS, S.: I//U^ro kAWoo'. Torino
2004.
' ' DVOŘÁK, M.: Vorwort. In: KOKOSCHKA, O.: T/ÜMt7o%o72
Wien 1921; and AURENHAMMER, H. H.:
Max Dvorak über Oskar Kokoschka — eine handschriftliche
Fassung des Vorworts zu "Variationen über ein Thema"
(1920/21). In: OrKr KoCorKK — ^Ct^ÆPonpoCt7oo%. Ed. P.
WERKNER. Wien 1998, pp. 34-40.
^ DVORAK, M.: Vorschläge zur Reform der Architekturschu-
len m Wien aus dem Jahre 1801 (1911). In: DVOŘÁK 2011

intervening critically on the trend of Contemporary
art and architecture.
The theme that Dvořák places at the centre of
his reflections and which guides his thoughts even in
the practical activity of monument care is that of the
tč^Attúy of the Classic, that is to say artistic research
that studies and understands tradition, but relives it
and interprets it subjectively; in other words, it is able
to make it come alive in Contemporary timesV This
is the artistic trend of Kokoschka and Loos.
In one of his last writings, Dvořák comments on
the sériés of portraits of Kamiüa Swoboda [Fig. I],
the wife of Karl Maria, his assistant, painted by
Kokoschka. The artist manages to confer a classic
and spiritual objectivity to the expression of strongly
subjective attitudes and sensitivity. Dvořák sees in
him the person capable of translating the Viennese
neo-idealism into painting: a new and classic art, i.e.
provided with its own unity and therefore innovative,
but, at the same time, complété and, consequently,
classic.'^ With Loos, Dvořák shares both the detach-
ment from and from 1FAÁA/7A.
In 1911, he publishes a manifesto for the reform
of the school of architecture that dates back to
1801. Dvořák uses the words with which Fr. J. Beck,
professor of the Academy of Fine Arts in Vienna,
had proclaimed at the time: "Lkw V A A AAw
A/AA tw? AUA Ar ptArt/rq 0A
AuAor AAyyt /o AA Mtt
AU, AU řxAnbr AAyyr A řAptt A/In the
same spirit and using similar words, Loos, too, had
defended the civic role that is the concern of the
architectA Both Dvořák and Loos share the opinion
that the last Modem was the Classicism of the early
nineteenth Century and I believe that they base their
criticism of the latest Modernism at the beginning
(see in note 8), I. Teil, Erhaltung des historischen Stadtkern
7. See also LOOS, A.: Kr Dorřy&pforA%, 7á*27- 7200. Paris
- Zürich 1921 (repr. Wien 1981). Aldo Rossi incorporated
the lessons of Dvořák and Loos in his writings, in his work
and in the film 077M,?w%to o DA'tto, directed by Luigi Durissi,
Contemporahlm, 1973.
^ "M A/vrř ^rt V to oyorAopü ^oApy to /7A
g/o A A ízrt. TP? i^orC o/ phy^to V ^rtht. M 7?o^ro 7r
%ot." - LOOS, A.: Architektur (1910). In: LOOS, A.: KiwU'oV
LPn/t^. Ld. E GLÜCK. Wien 1962, Vol. 1, p. 314.

48