This book is an account of the theory and practice of practitioners
of the so-called "second" or "younger" Viennese school associated
with Hans Sedlmayr and Otto Pacht and their short-lived journal,
Kunstwissenschaftliche Forschungen. It demonstrates the strong
dependence of these writers on the work of Gestalt psychology which
was emerging at the time. Gestalt theory emerges as the master key
to interpreting Sedlmayr and Pacht's ideas about art and history
and how it affected their practices. This fresh interpretive
apparatus casts light on the power and originality of Sedlmayr's
and Pacht's theoretical and empirical writings, revealing a
practice-based approach to history that is more attuned to the
visuality of art. Verstegen demonstrates the existence of a
genealogy of Vienna formalism coursing throughout most of the
twentieth century, encompassing Johannes Wilde and his students at
the Courtauld as well as Otto Demus in Byzantine studies. By
bringing Gestalt theory to the surface, he dispels
misunderstandings about the Vienna School theory and attains a
deeper understanding of the promise that a Gestalt analytic holism
- a non-intuitionist account of the relational logic of sense - is
offered.
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