Tekst Riegel
He writes a big book and starts with architecture, what is weird, and speaks about late roman churches that where (300
nCh) really big, so it seems to be about space. They have big interiors, a long body, surrounding shape in the back,.. And
Riegle speaks about the Pantheon. The pantheon has a huge space with a big dome and what is petuliar about it, is that
the whole dome is build with concrete and started with a niche, so with the thickness of the space what will become thee
main thing to do with the next buildings, they evolve aEer. Rigle says that arch wasn’t always about space. You can border
space in arch with a wall but in Pantheon you can crate an inside wall (so you can create inside space or define space)
Every era has a different desire to create art. And eearkier art is primiKve because earlier on people had a drive to make
art but that is not the same as now. People wanted something different from art in each era.
Was arch always about space? First he says: if you look around you (trees, people,..) are always appearing in a different
way, perspecKve, in the background, it is part of the world but what art wanted to to, is to isolate it as a individual thing.
People had the desire to isolate something and have it seperatly. Thee oone thing they wanted from art is to stand on its
own. We want to see ither things as a unity. The goal of art is to move individual, as a kind of material object, so that arKst
weren’t interested in space thereefor. Space is a unit of a material object but art wanted to be individual. It was more
about puSng something in space. Individual. To present something as a autonomous object, you need to not have a
personal impression of it. Art as something in a way that we don’t see it connected to a context. A object as a unity and
that is the way that we relate to when we touch an object, because you just feel the thing itself and not the around. It
avoids pictorial space (opposite Langer) tries to presents something, an individual object without an context so without an
interprestaKon. So have it in isolaKon, but if you want to present it to people, you have to present it on a plane to show
people, without adding depth and the object in isolataKon. (ex: EgypKan signs – are primiKve (niet weten oe iets eruit ziet)
to us, although we know that it is not primiKve. They want the God they represent as an individual inKty, They are
presenKng the body in a way that you can see the body fully. The propoKons of someone fully, so on purpose present the
body siSng with two arms,… on a flat surface without the 3D effect. The proporKoans how they literaly are. (ookal zit die
in zijaanzicht gaan ze nigsteeds de twee armen tekenen om de echte proporKes te tonen van hoe het loichaam eruit ziet
maar dan zonder get 3D effect, diee depth) They portrait individual subjects and not scenes. There is no space around it.
they are individual that are next to each other but not like onthop of each other. (zoals wat tata mandy heE met haar
naam, dat zijn ‘dieren’ die boven elkaar zijn maar ze zijn dus niet boven elkaar aan het vliegen, maar individuele wezens)
This is a kind of tacKle art, an art where you are so close that you could almost touch it, but that is what they want. You
don’t have to step back to appreciate it, here that’s not the point, you need to be close to it.
In Acient art they try to have semetrical interpretaions. (thee shoulders for example when the person is siSng) because
symmetry means complete. They portrait someone zijdelinks with the legs behind each other (but you don’t see the
second leg because they don’t want to overlap and therefor they drew the 2 arms next to each other to show that)
In Greek pictures they start using shadows, while in EgypKan its just a line to define there the bodypart ends. In Greek
they paint and the line, to add depth or shadow, will overline the line with other lines. In Greek painKngs/drawings, there
are different figures on the same vase but not on the same space again? They are individual, not on the same scene. The
greeks start using vidual tricks to make things appear (like a shadow that will bring out the individual figure) Symmetry is
something that you only noKce in the greeek painKngs from a distance. So that it becomes more vidual.
Ancient statues have eyes but are completely white, so theey sculpt the eye lid and then a white space, so they do
something (what egypKoans wont so) they create a small hole to idenKfy the eye, and therefor visualy it looks more
correct eventho a hole in the ‘eye ball’ makes it feel more correct than just a white eyeball
Different figues are presented by shadow (what you cant feel) and if you look like it from closeby, you wont see why the
shadow is there, so you have to show it further. You could not possibly touch. Late roman art --> shiE that present
individual fugues in scenes what is completely the opposite from EgypKan reliefs.
, They are interested in creaKng something individual (EgypKans) they also have buildings to leave and also to show, to go in
like tempels, but as a massive unit without windows, they don’t seek a special effect or relaKon to outside/inside. So just a
forrest of huge pilars, massive elements.
For art: the individuals are all object that are individual on in that space. The snail is not in the same al the cat for ex. The
interest here is therefor not to put them in a same space, so nit to create a scene but capture them in a individual way.
Also the proporKons of a human being, they present them as in a tacKle way and not in e scene. It is a ground, not space.
They are portraying individual objects/enKKes on a ground. They want to show you as it it. They are not interested to show
the human like they really are. Beauty is the maaer of showing the proporKons of how they are but not the body in
perspecKve. They present their bodies in a non-perspecKve way to keep the reality in 2D. There is no 3D, they didn’t wznt
to do it. They don’t want to add depth. The more you have bodies in perspecKge, aEer one another, the more difficult it is
to interpret, that is why they want to place the bodies next to each other and if they are siSng zijaanzicht, you will see the
two arms next to the body, to show how the body is.
Greek: arch makes something a kind of a block, a tempel as a room, with no relaKon between inside/outside. They crete
something massive but they start puSng colomns in front of the building with a play of space between the exterior
(colomns) and the tempel itself. That inbewteen space creates an effect of light and shadows.
For art you see that the exact same art limited to outlines, very clean cuts, but they start to be in relaKon to different
individuals, creaKng a kind of scene and these lines show you a material border. The lines show you a line that you could
touch (tacKle). The hatches on them are there to give you a sense of volume. They are not an outline but they are
something visual (shadows of the muscles) so what you can touch, the shadow. They are drawing something that is only
opKcal and the volume but what you cant touch and also lines (outlines) that you can touch. The hatches adds to the
effect of seeeeing a shadow, how we would see it in real life.
--> they could not work with the interior and create a massive object
Roman: pantheon: they managed to have a compromise ( a individual object) but with interior space. They created a
vilume with a dome and the dome is a spherical space (the interior of the panteon is a massive volume that represents a
autonomous object) --> a variant of the pyramid – an interior space where you can go inside
Up to now arch is a object but we think its about space.
The dome is build with 6m of concrete and they guided the forces of the weight to colums and therefor create spaces in
the spaces in the dome inbewteen (niches). So arch evolves to what the potenKal can be and not as a big object. Now the
niches aree the main thing started to get interested in. ChrisKan churches started to have a central space with (een
koor),… so all of these niches. Vb: Santa Costanza. --> speciality to build ans special effects with space.
For art; the figures are quit individual but are not realy encountering with each other in the space. They put shadows in
the face (around the eeyeys,… so a opKcal effect) and they use shadow to bring the material difference to bring the eyes
out,.. The visual is meant to see the relief of the face but the shadows do not corelate with the world around it. They will
draw 10 people next to each other but they wilol all have their individual shadow and not the same shadow according to
the light/shadow in the room itself. So they don’t want to create a scene but put them all together with their own
shadows to just show the relief of the eyes.
In the eye them made holes to make the tactal effect of beaer to see the eeye. They use material trics to get beaer opKcal
effect. Or the pupils are cut out, how they appear but not how they are in real life, there is no cut out of your eye. They
don’t show tacKle reality but more a visual idea. Here they want to capture a moment.
From TacKle to opKcal experience of space.
TacKle: take a pen in your hands to feel
OpKcal: the shadow effect, the wall with light dark,… so a opKcal suggesKon of space
Riegl criKsisez the romans, thy were not interested in having space inbetween. They are projecKng no background, for the
romans there is no background, they don’t want to focus on the space behind. EgypKans don’t try to have an effect or a
opKval effect so for riegl the EgypKans don’t have bad art. It shows what is shows. Like they made Hello Kiay to just show
what it is, that is easy for the kids to understand, they don’t use perspecKve and there for show how it really is with the
best propoKons, the real ones.
He writes a big book and starts with architecture, what is weird, and speaks about late roman churches that where (300
nCh) really big, so it seems to be about space. They have big interiors, a long body, surrounding shape in the back,.. And
Riegle speaks about the Pantheon. The pantheon has a huge space with a big dome and what is petuliar about it, is that
the whole dome is build with concrete and started with a niche, so with the thickness of the space what will become thee
main thing to do with the next buildings, they evolve aEer. Rigle says that arch wasn’t always about space. You can border
space in arch with a wall but in Pantheon you can crate an inside wall (so you can create inside space or define space)
Every era has a different desire to create art. And eearkier art is primiKve because earlier on people had a drive to make
art but that is not the same as now. People wanted something different from art in each era.
Was arch always about space? First he says: if you look around you (trees, people,..) are always appearing in a different
way, perspecKve, in the background, it is part of the world but what art wanted to to, is to isolate it as a individual thing.
People had the desire to isolate something and have it seperatly. Thee oone thing they wanted from art is to stand on its
own. We want to see ither things as a unity. The goal of art is to move individual, as a kind of material object, so that arKst
weren’t interested in space thereefor. Space is a unit of a material object but art wanted to be individual. It was more
about puSng something in space. Individual. To present something as a autonomous object, you need to not have a
personal impression of it. Art as something in a way that we don’t see it connected to a context. A object as a unity and
that is the way that we relate to when we touch an object, because you just feel the thing itself and not the around. It
avoids pictorial space (opposite Langer) tries to presents something, an individual object without an context so without an
interprestaKon. So have it in isolaKon, but if you want to present it to people, you have to present it on a plane to show
people, without adding depth and the object in isolataKon. (ex: EgypKan signs – are primiKve (niet weten oe iets eruit ziet)
to us, although we know that it is not primiKve. They want the God they represent as an individual inKty, They are
presenKng the body in a way that you can see the body fully. The propoKons of someone fully, so on purpose present the
body siSng with two arms,… on a flat surface without the 3D effect. The proporKoans how they literaly are. (ookal zit die
in zijaanzicht gaan ze nigsteeds de twee armen tekenen om de echte proporKes te tonen van hoe het loichaam eruit ziet
maar dan zonder get 3D effect, diee depth) They portrait individual subjects and not scenes. There is no space around it.
they are individual that are next to each other but not like onthop of each other. (zoals wat tata mandy heE met haar
naam, dat zijn ‘dieren’ die boven elkaar zijn maar ze zijn dus niet boven elkaar aan het vliegen, maar individuele wezens)
This is a kind of tacKle art, an art where you are so close that you could almost touch it, but that is what they want. You
don’t have to step back to appreciate it, here that’s not the point, you need to be close to it.
In Acient art they try to have semetrical interpretaions. (thee shoulders for example when the person is siSng) because
symmetry means complete. They portrait someone zijdelinks with the legs behind each other (but you don’t see the
second leg because they don’t want to overlap and therefor they drew the 2 arms next to each other to show that)
In Greek pictures they start using shadows, while in EgypKan its just a line to define there the bodypart ends. In Greek
they paint and the line, to add depth or shadow, will overline the line with other lines. In Greek painKngs/drawings, there
are different figures on the same vase but not on the same space again? They are individual, not on the same scene. The
greeks start using vidual tricks to make things appear (like a shadow that will bring out the individual figure) Symmetry is
something that you only noKce in the greeek painKngs from a distance. So that it becomes more vidual.
Ancient statues have eyes but are completely white, so theey sculpt the eye lid and then a white space, so they do
something (what egypKoans wont so) they create a small hole to idenKfy the eye, and therefor visualy it looks more
correct eventho a hole in the ‘eye ball’ makes it feel more correct than just a white eyeball
Different figues are presented by shadow (what you cant feel) and if you look like it from closeby, you wont see why the
shadow is there, so you have to show it further. You could not possibly touch. Late roman art --> shiE that present
individual fugues in scenes what is completely the opposite from EgypKan reliefs.
, They are interested in creaKng something individual (EgypKans) they also have buildings to leave and also to show, to go in
like tempels, but as a massive unit without windows, they don’t seek a special effect or relaKon to outside/inside. So just a
forrest of huge pilars, massive elements.
For art: the individuals are all object that are individual on in that space. The snail is not in the same al the cat for ex. The
interest here is therefor not to put them in a same space, so nit to create a scene but capture them in a individual way.
Also the proporKons of a human being, they present them as in a tacKle way and not in e scene. It is a ground, not space.
They are portraying individual objects/enKKes on a ground. They want to show you as it it. They are not interested to show
the human like they really are. Beauty is the maaer of showing the proporKons of how they are but not the body in
perspecKve. They present their bodies in a non-perspecKve way to keep the reality in 2D. There is no 3D, they didn’t wznt
to do it. They don’t want to add depth. The more you have bodies in perspecKge, aEer one another, the more difficult it is
to interpret, that is why they want to place the bodies next to each other and if they are siSng zijaanzicht, you will see the
two arms next to the body, to show how the body is.
Greek: arch makes something a kind of a block, a tempel as a room, with no relaKon between inside/outside. They crete
something massive but they start puSng colomns in front of the building with a play of space between the exterior
(colomns) and the tempel itself. That inbewteen space creates an effect of light and shadows.
For art you see that the exact same art limited to outlines, very clean cuts, but they start to be in relaKon to different
individuals, creaKng a kind of scene and these lines show you a material border. The lines show you a line that you could
touch (tacKle). The hatches on them are there to give you a sense of volume. They are not an outline but they are
something visual (shadows of the muscles) so what you can touch, the shadow. They are drawing something that is only
opKcal and the volume but what you cant touch and also lines (outlines) that you can touch. The hatches adds to the
effect of seeeeing a shadow, how we would see it in real life.
--> they could not work with the interior and create a massive object
Roman: pantheon: they managed to have a compromise ( a individual object) but with interior space. They created a
vilume with a dome and the dome is a spherical space (the interior of the panteon is a massive volume that represents a
autonomous object) --> a variant of the pyramid – an interior space where you can go inside
Up to now arch is a object but we think its about space.
The dome is build with 6m of concrete and they guided the forces of the weight to colums and therefor create spaces in
the spaces in the dome inbewteen (niches). So arch evolves to what the potenKal can be and not as a big object. Now the
niches aree the main thing started to get interested in. ChrisKan churches started to have a central space with (een
koor),… so all of these niches. Vb: Santa Costanza. --> speciality to build ans special effects with space.
For art; the figures are quit individual but are not realy encountering with each other in the space. They put shadows in
the face (around the eeyeys,… so a opKcal effect) and they use shadow to bring the material difference to bring the eyes
out,.. The visual is meant to see the relief of the face but the shadows do not corelate with the world around it. They will
draw 10 people next to each other but they wilol all have their individual shadow and not the same shadow according to
the light/shadow in the room itself. So they don’t want to create a scene but put them all together with their own
shadows to just show the relief of the eyes.
In the eye them made holes to make the tactal effect of beaer to see the eeye. They use material trics to get beaer opKcal
effect. Or the pupils are cut out, how they appear but not how they are in real life, there is no cut out of your eye. They
don’t show tacKle reality but more a visual idea. Here they want to capture a moment.
From TacKle to opKcal experience of space.
TacKle: take a pen in your hands to feel
OpKcal: the shadow effect, the wall with light dark,… so a opKcal suggesKon of space
Riegl criKsisez the romans, thy were not interested in having space inbetween. They are projecKng no background, for the
romans there is no background, they don’t want to focus on the space behind. EgypKans don’t try to have an effect or a
opKval effect so for riegl the EgypKans don’t have bad art. It shows what is shows. Like they made Hello Kiay to just show
what it is, that is easy for the kids to understand, they don’t use perspecKve and there for show how it really is with the
best propoKons, the real ones.
