DOI Heft:
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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#0061
4. M/A Rcw'.'
dWo^/UvA/,
/fdd, M/Aw. P/^c/)9.' írř^ř
dhwAb, AÍZA%a
who was disowned by the school itself at the end of
the war, during de-NazihcationA After being rein-
stated and assuming the chair of history of art at the
University of Salzburg, Sedlmayr will once again také
up the theme of monument care on the very occasion
of a speech-manifesto for the safeguarding of the
historical centre of the city. It represents an important
text because it actually créâtes a bridge between the
tradition of the Vienna School and Dvorak's lesson
in the case in point, and the problems linked with
the Conservation of historical centres which were
taking shape at the time and bringing with them the
important question of the relationship between new
architecture and the historical fabric. What is more on
this occasion, Sedlmayr makes some comments which
Roberto Pane developed on this theme and which
converged in the Charter of Venice, establishing in
this way and for the hrst time a real ground for com-
parison between the Austrian and the Italian culture
of monument care. If, until that time, it was in fact
true that no Italian scholar had really compared their
To see the position of Hans Sedlmayr in perspective in the
question of the Vienna School during the Nazi period, refer-
ence should be made to the enüghtenmg AURENHAMMER,
H. H.: Zäsur oder Kontinuität. Das Wiener Kunsthistorische
Institut im Ständestaat und im Nationalsozialismus. In: 1T/Ařr
work with the lesson of Austrian tradition, now an
Austrian scholar was drawing attention to the actuaiity
of this tradition and was setting it in continuity with
one of the most widely proposed expressions of the
debate in progress in Italy.
The text of DA Azw/AfA TAorDA. DA VhyhA
R<?/A/rg ArDAUoD/ Uy/yA/ryj was written in 1965
and consists of eight paragraphsA It Starts from the
problém of the conservation of the historical centre
which was subjected to pressure from the building
sector partly as a conséquence of post-war recon-
struction, but above all due to pressure exerted by
the economic and urban neo-capitalist development.
"D^r UAA' ("IA? o/A Vory") was how Sedlmayr
considered the reconstruction and intégration of
the historical fabric in the shapes and structures of
the Contemporary architectural culture: 'V/AAoroA'
refer as much to the manifestations of provincial
Modernism as to the stylistic rebuilding.
To denounce the banalizing falsification innate in
the rebuilding and modernisation processes of the
db/wA (=Wiener Jahrbuch fur
Kunstgeschichte, 53). Wien — Köln - Graz 2004, pp. 11-54.
^ SEDLMAYR, HaD/gA^oA^JAAAP.EAM^/Af
ArMAzAzV/yA/gr. Salzburg 1965.
59
dWo^/UvA/,
/fdd, M/Aw. P/^c/)9.' írř^ř
dhwAb, AÍZA%a
who was disowned by the school itself at the end of
the war, during de-NazihcationA After being rein-
stated and assuming the chair of history of art at the
University of Salzburg, Sedlmayr will once again také
up the theme of monument care on the very occasion
of a speech-manifesto for the safeguarding of the
historical centre of the city. It represents an important
text because it actually créâtes a bridge between the
tradition of the Vienna School and Dvorak's lesson
in the case in point, and the problems linked with
the Conservation of historical centres which were
taking shape at the time and bringing with them the
important question of the relationship between new
architecture and the historical fabric. What is more on
this occasion, Sedlmayr makes some comments which
Roberto Pane developed on this theme and which
converged in the Charter of Venice, establishing in
this way and for the hrst time a real ground for com-
parison between the Austrian and the Italian culture
of monument care. If, until that time, it was in fact
true that no Italian scholar had really compared their
To see the position of Hans Sedlmayr in perspective in the
question of the Vienna School during the Nazi period, refer-
ence should be made to the enüghtenmg AURENHAMMER,
H. H.: Zäsur oder Kontinuität. Das Wiener Kunsthistorische
Institut im Ständestaat und im Nationalsozialismus. In: 1T/Ařr
work with the lesson of Austrian tradition, now an
Austrian scholar was drawing attention to the actuaiity
of this tradition and was setting it in continuity with
one of the most widely proposed expressions of the
debate in progress in Italy.
The text of DA Azw/AfA TAorDA. DA VhyhA
R<?/A/rg ArDAUoD/ Uy/yA/ryj was written in 1965
and consists of eight paragraphsA It Starts from the
problém of the conservation of the historical centre
which was subjected to pressure from the building
sector partly as a conséquence of post-war recon-
struction, but above all due to pressure exerted by
the economic and urban neo-capitalist development.
"D^r UAA' ("IA? o/A Vory") was how Sedlmayr
considered the reconstruction and intégration of
the historical fabric in the shapes and structures of
the Contemporary architectural culture: 'V/AAoroA'
refer as much to the manifestations of provincial
Modernism as to the stylistic rebuilding.
To denounce the banalizing falsification innate in
the rebuilding and modernisation processes of the
db/wA (=Wiener Jahrbuch fur
Kunstgeschichte, 53). Wien — Köln - Graz 2004, pp. 11-54.
^ SEDLMAYR, HaD/gA^oA^JAAAP.EAM^/Af
ArMAzAzV/yA/gr. Salzburg 1965.
59