“A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History?

This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies.