development of art, which he believes contributes more than religion, in the humanization and concretization of the soul belief as classically displayed in nature and then man himself as the god. It is Riegl's emphasis on the historical context that initially inspires Rank to equally consider all forms of expression as a will-to-art. Wilhelm Worringer likewise mentions his debt to Riegl in terms of art theory, and what Worringer calls, "the urge to abstraction." Art history is not a progress of ability from primitive lack of skill, but is, in Riegl's terms, a history of volition. Clemena Antonova writes, "Worringer sides with Riegl in that relativist approach to art and maintains that, "what appears from our standpoint the greatest distortion, must have been, at the time, for its creator the highest beauty and expression of his artistic volition." Rank cites Worringer as taking Riegl up to the verge of psychological insight where art forms can be interpreted parallel to forms of belief in the soul, and, indeed, Worringer coined the term "expressionism" which is the modern individual psychology of Rank's presentation under primitive abstraction, classical intuition, and modern expression. In the late twentieth century, the entirety of Riegl's work was revisited by scholars of diverse methodological persuasions, including post-structuralism and reception aesthetics. In retrospect a number of tendencies of Riegl's work seem to have foreshadowed the concerns of contemporary art history: his insistence that aesthetics be treated in historical context, and not in relation to an ideal standard; his interest in the "minor" arts; and his attention to the relationship between viewers and objects. Notes Works The most complete bibliographies of Riegl's work are found in K.M. Swoboda, ed., Gesammelte Aufsätze (Augsburg, 1929), xxxv-xxxix; and E.M. Kain and D. Britt, tr., The Group Portraiture of Holland (Los Angeles, 1989), 384-92. The following list includes only monographs, book-length works, and collections, arranged by date of publication. Die ägyptischen Textilfunde im Österr. Museum (Vienna, 1889). Altorientalische Teppiche (Leipzig, 1891). Stilfragen (Berlin, 1893). Tr. E. Kain, Problems of style (Princeton, 1992). Volkskunst, Hausfleiß, und Hausindustrie (Berlin, 1894). Ein orientalischer Teppich vom Jahre 1202 (Berlin, 1895). Die spätrömische Kunstindustrie nach den Funden in Österreich-Ungarn (Vienna, 1901). Tr. R. Winkes, Late Roman art industry (Rome, 1985). "Das holländische Gruppenporträt," Jahrbuch des allerhöchsten Kaiserhauses 22 (1902), 71-278. Tr. E.M. Kain and D. Britt, The Group Portraiture of Holland (Los Angeles, 1999, fully available online Der moderne