Abstract

Previous chapter During the 1900s and the 1910s, the rhythm became the subject of a fierce debate between the Swiss-German and Austrian schools of art history. Rhythm which had been considered by the former as a form of process was now redefined by the latter as a spatial form. To better assess this controversy, I will first expose the position of the main opponent to Wölfflin and Schmarsow: the Austrian art historian Alois Riegl - Esthétique – Nouvel article