Author:
Tomáş Murár Institute of Art History, Czech Academy of Sciences, Prague, Czech Republic

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This study examines Max Dvořák‘s previously unknown papers prepared for his one-semester lecture series at the university of Vienna in 1913. Dvořák titled these lectures “explanations of Selected Works of Art“ (Erklärung ausgewählter Kunstwerke) and in doing so developed a distinctive method within the art historical research of the so-called vienna School of Art History. The paper interprets the lectures through a close reading of the method as a parallel to the change in the concept of the work of art as it occurred in the philosophy and practice of art at the beginning of the twentieth century, demonstrated in the study by examples from the thinking of the German philosopher Oskar Becker and a transformation of the meaning of painting by the French artist Marcel Duchamp. As the study shows, such analogies allow us to understand the meaning of the work of art in Max Dvořák‘s art history in a new way.

  • Agamben, Giorgio: Archaeology of the Work of Art, in idem: Creation and Anarchy. The Work of Art and the Religion of Capitalism, Stanford, CA, 2019. 113. [originally published as Archeologia dell’opera, Mendrisio, 2013]

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  • Aurenhammer, Hans: Max Dvořák, Tintoretto und die Moderne: Kunstgeschichte “vom Standpunkt unserer Kunstentwicklung” betrachtet, Wiener Jahrbuch fur Kunstgeschichte, 49. 1996, 939.

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  • Aurenhammer, Hans: Max Dvořák und die moderne Architektur: Bemerkungen zum Vortrag “Die letzte Renaissance”’ (1912), Wiener Jahrbuch fur Kunstgeschichte, 50. 1997, 2340.

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  • Aurenhammer, Hans: Max Dvořák (1874–1921). Von der historischen Quellenkritik zur Kunstgeschichte als Geistesgeschichte, in Hruza, Karel (ed.): Österreichische Historiker. Lebensläufe und Karrierien 1900–1945, Bd. 2, Wien–Köln–Weimar, 2012. 169200.

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  • Aurenhammer, Hans: Inventing Mannerist Expressionism: Max Dvořák and the History of Art as the History of the Spirit, in Smith, Kimberly A. (ed.): The Expressionist Turn in Art History: A Critical Anthology, Burlington-Farnham, 2014. 187208.

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  • Bakoš, Ján: Max Dvořák–A Neglected Re-visionist, Wiener Jahrbuch fur Kunstgeschichte LIII, Wien–Köln–Weimar, 2004. 5571.

  • Bakoš, Ján: Discourses and Strategies: The Role of the Vienna School in Shaping Central European Approaches to Art History and Related Discourses, frankfurt am Main, 2013.

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  • Becker, oskar: Von der abenteuerlichkeit des künstlers und der vorsichtigen verwegenheit des Philosophen, in idem: Dasein und Dawesen. Gesammelte philosophische Aufsätze, Stuttgart, 1963. 103126. [originally published in 1958 in a “festschrift” for erich rothacker (Konkrete Vernunft, Bonn, 1958)]

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  • Becker, oskar: Para-existenz. Menschliches Dasein und Dawesen, in idem: Dasein und Dawesen. Gesammelte philosophische Aufsätze, Stuttgart, 1963. 67102. [originally published in 1943 in Blätter für deutsche Philosophie, Bd. 17. 62–95.]

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  • Czwik, Barbara: Max Dvořák, rudolf Carnap and the Question of weltanschauung vs. weltauffassung, Journal of Art Historiography, 25. 2021, 119. url: https://arthistoriography.files.wordpress.com/2021/11/czwik.pdf [last accessed 6 July 2022]

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  • Duchamp, Marcel: interview with francis roberts, Art News 67, December 1968. 47.

  • Duve, Thierry de: The readymade and the Tube of Paint, Artforum International 24, 1986. 110121.

  • Duve, Thierry de: Pictorial Nominalism. On Marcel Duchamp‘s Passage from Painting to the Ready-made, Minneapolis, Mn – oxford, 1991. 3944.

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  • Duve, Thierry de: Kant after Duchamp, Cam-bridge, Ma-london, 1996.

  • Dvořák, Max: Erklärung ausgewählter Kunstwerke, Manuskript, 1913. archive of the Department of art history at the university of vienna, papers of Max Dvořák, box 5, bundle 5.

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  • Dvořák, Max: Das Rätsel der Kunst der Brüder van Eyck, München, 1925. [originally published in Jahrbuch der kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses in 1904]

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  • Gerát, Ivan: Dvořák on the revolutionary Temporalities of art, Journal of Art Historiography, 25. 2021, 117. url: https://arthistoriography.files.wordpress.com/2021/11/gerat.pdf [last accessed 6 July 2022]

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  • Gethmann-Seifert, AnnemarieMittelStraSS, Jürgen (eds): Die Philosophie und die Wissenschaften. Zum Werk Oskar Beckers, München, 2002.

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  • Hrdlička, TerezaMurár, Tomáš: The influence of the vienna School of art history ii: The 100th anniversary of Max Dvořák’s Death, Journal of Art Historiography, 25. 2021, 110. url: https://arthistoriography.wordpress.com/wpcontent/uploads/2021/11/hrdlickova_murar-report.pdf [last access 6 July 2022]

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  • KalinowSki, lech: Max Dvořák i jego metoda badań nad sztuką, warschau, 1974.

  • kowalSki, Tomáš: Max Dvořák and the Denkmalpflege, Journal of Art Historiography, 26. 2022, 112. url: https://arthistoriography.files.word-press.com/2022/05/kowalski-report.pdf [last access 6 July 2022]

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  • Kroupa, Jiří: Max Dvořák dnes, Opuscula Historiae Artium, 61. 2012, 211.

  • Lachnit, edwin: ansätze methodischer evolution in der wiener Schule der kunstgeschichte, in Olbrich, Harald (ed.): L‘Art et les révolutions. Révolution et évolution de l‘Histoire de l‘Art de Warburg a nos jours, Strasbourg, 1992. 4352.

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  • Markója, Csilla: János (Johannes) wilde and Max Dvořák, or Can we Speak of a Budapest School of art history?, Journal of Art Historiography, 17. 2017, 121. url: https://arthistoriography.files.wordpress.com/2017/11/markoja.pdf [last access 6 July 2022]

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  • Markója, Csilla: The young arnold hauser and the Sunday Circle: the Publication of hauser’s estate Preserved in hungary, Journal of Art Historiography, 21. 2019, 120. url: https://arthistoriography.files.wordpress.com/2019/11/markoja.pdf [last access 6 July 2021]

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  • Markója, Csilla: The Tolnay-Panofsky af-fair or, loyalty to the youth: Max Dvořák, the vienna School, and the Sunday Circle, Journal of Art Historiography, 23. 2020, 122. url: https://arthistoriography.files.wordpress.com/2020/11/markoja.pdf [last access 6 July 2022]

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  • Radnóti, Sándor: Die historisierung des kunstbegriffs: Max Dvořák, Acta Historiae Artium Academiae Scientiarum Hungaricae, 26. 1980, 125142.

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  • Rampley, Matthew: Max Dvořák. art his-tory and the Crisis of Modernity, Art History, 26. 2003, 214237.

  • Riegl, Alois: Die spätromische Kunstindustrie nach den Funden in Österreich-Ungarn, wien, 1901.

  • Riegl, Alois: Die hollandische Gruppenporträt, wien, 1931.

  • Rosenhauer, Arthur: Das rätsel der kunst der Brüder van eyck – Max Dvořák und seine Stellung zu wickhoff und riegl, in Krenn, StefanPippal, Martina (eds): Wien und die Entwicklung der kunsthistorischen Methode, wien–köln–graz, 1984. 4552.

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  • Sauerländer, Willibald: alois riegl und die entstehung der autonomen kunstgeschichte am fin de Siècle, in Bauer, Roger (ed.): Fin de Siècle. Zur Literatur und Kunst der Jahrhundertwende, frank-furt, 1997. 125136.

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  • Scarrochia, Sandro: Denkmalpflege und Moderne: Die lehre Max Dvořáks, in Idem (ed.): Max Dvořák, Schriften zur Denkmalpflege, wien, 2012. 22210.

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  • SchloSSer, Julius von: Stilgeschichte und Sprachgeschichte der bildenden Kunst, München, 1935.

  • Schwarzer, Mitchell: Cosmopolitan Difference in Max Dvořák’s art historiography, The Art Bulletin, 74. 1992, 669678.

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  • Thimann, Michael: Julius von Schlosser (1866–1938), in Pfisterer, Ulrich (ed.): Klassiker der Kunstgeschichte 1. Von Winckelmann bis Warburg, München, 2007. 194213.

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  • Wickhoff, FranzHartel, Wil-Helm: Die Wiener Genesis, wien, 1895.

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HELMUT PHILIPP RIEDL: ANTIVEDUTO DELLA GRAMMATICA (1570/71–1626). LEBEN UND WERK München–Berlin: Deutscher Kunstverlag, 1998, 241 S., 8 Farbtafeln, 135 Schwarz-weiß Abbildungen

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