Art History And Studio Art
The next era of professors at Vienna included Max Dvořák, Julius von Schlosser, Hans Tietze, Karl Maria Swoboda, and Josef Strzygowski. A number of the most important twentieth-century art historians, including Ernst Gombrich, obtained their levels at Vienna presently. The term “Second Vienna School” (or “New Vienna School”) often refers to the following generation of Viennese students, including Hans Sedlmayr, Otto Pächt, and Guido Kaschnitz von Weinberg. These students began in the Thirties to return to the work of the first generation, significantly to Riegl and his concept of Kunstwollen, and tried to develop it into a full-blown art-historical methodology. Sedlmayr, in particular, rejected the minute study of iconography, patronage, and other approaches grounded in historic context, preferring as an alternative to focus on the aesthetic qualities of a work of art. As a result, the Second Vienna School gained a reputation for unrestrained and irresponsible formalism, and was moreover colored by Sedlmayr’s overt racism and membership within the Nazi party. This latter tendency was, however, on no account shared by all members of the college; Pächt, for instance, was himself Jewish, and was pressured to go away Vienna within the Nineteen Thirties.
The Institute of Art History and Visual …
