Abstract
Max Dvořak's major texts relate art historiography to nationality and cultural difference. His principal reason in charting the relationship of art to intellectual and spiritual conditions was to demonstrate the uniqueness of artistic expression in Germany and Northern Europe since Early Christianity. Dvořak's ideas were based on an intimate awareness of German explanations of modernism from the late 1700s to his time. Despite his theory's totalizing claims, Dvořak's resistance to classicist hegemony in art historiography is pertinent for the current debate on the nature of disciplinary hierarchies and exclusions.
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