In it the artist discusses his own paintings, his life, his sorrow and hopes; the paintings and sculptures of Rubens, Michelangelo, Constable, Bonington and others: old and new literature and the music of Mozart, Rossini and Chopin, the events of his time.This revival of a famous Phaidon series brings together in an elegant format some of the best-known writings of renowned artists, critics and interpreters of our cultural tradition. Each book, an acknowledged classic, provides insights not only into the worlds of the arts and cultural history, but also into the creative and intellectual preoccupations of its author and his time. These Phaidon editions have an introduction and notes by a distinguished editor and a wide range of illustrations specially chosen to complement the text.

    Demonstrating an uninterrupted continuity in the history of ornament from the ancient Egyptian through the Islamic period, Riegl argued that the creative urge manifests itself in both great art and the most humble artifact, and that change is an inherent part of style. This new translation, which renders Riegl's seminal work in contemporary, readable prose, allows for a fresh reexamination of his thought in light of current revisionist debate. His discovery of infinite variation in the restatement of several decorative motifs--the palmette, rosette, tendril--led Riegl to believe that art is completely independent from exterior conditions and is beyond individual volition. This thinking laid the groundwork for his famous concept of Kunstwollen, or artistic intention. Something that the translation will, I hope, convey, is the passion invested in Riegl's enterprise. We are made to feel that the issues he discussed mattered vitally to him; it was the very nature of art and its relation to human life that were at stake, art as an absolute necessity.--From the preface by Henri Zerner