In 1899 the young Aby Warburg gave a series of lectures in his hometown of Hamburg on the life and work of Leonardo da Vinci. At this time, Warburg lived and researched in Florence, and the lecture series was designed to raise his profile as a private scholar back home, but also, as Warburg's brother Max put it, to give something back to the community. The Leonardo lectures, as they came to be known, are unique in the oeuvre of this scholar who tended to engage with very specific research problems. &#8203; With an average attendance of more than 400, Warburg's lectures were a great success, and a fourth meeting, accompanied by original Leonardo drawings and photographic prints in the Hamburg Kunsthalle, had to be repeated. Marking the fifth centenary of Leonardo's death and the 120th anniversary of Warburg's first public lecture series, this volume contains the full translated text of Warburg's previously unpublished lectures. This translation, which is based on the texts as they survive in Warburg's three manuscripts located in the Warburg Institute Archive, will bring these groundbreaking lectures to a new audience.

Three Lectures on Leonardo

Arts & Photography

Warburg, Aby

History & Criticism

Warburg Institute

L' Atlas Mnémosyne

Reference

Foreign Language Study & Reference

ECARQUILLE

Gesammelte Schriften, Bd.2/1, Der Bilderatlas - Mnemosyne

Warnke, Martin

Akademie-Verlag

Werke in einem Band

Suhrkamp Verlag AG

A legendary modernist epic of visual thinking from the founder of iconology, tracing the migration of symbols through art, history and cosmology―reconstructed and accessible for the first time
From 1925 until his death in 1929, the great German art theorist and cultural scholar Aby Warburg worked on an ambitious, unprecedented project he called the Mnemosyne Atlas: a series of 63 large themed panels, each featuring a constellation of images―postcards, maps, adverts, reproductions of artworks―that trace the migration of symbols from antiquity to the present. His goal was to show how certain gestures and icons repeated themselves across history, constituting what he called a “pathos formula”―that is, an enduring emotional metaphor. Warburg had the panels photographed, conceiving of their ultimate incarnation as being in book form―but never completed the atlas. Warburg has become famed for many things―founding the discipline of iconology (what would now be called visual studies); his incredible library (and its idiosyncratic organization); his photographs of Hopi Indians; and the august institute in London that bears his name. But the greatest, most mythical aspect of his legacy is the Mnemosyne Atlas, which is to art history what Walter Benjamin’s Arcades Project is to cultural history―an incomplete, collaged modernist epic attempting to comprehend the patterns of history and human emotion through flashes of insight that circumvent discursive thought. Artists, theorists, writers and curators as various as Gerhard Richter, R.B. Kitaj, Joan Jonas, Charlene von Heyl, Giorgio Agamben, Marina Warner, Ernst Gombrich and Hans Ulrich Obrist have all paid homage to this mythic entity in different ways; many books have been written about it, and many exhibitions themed around it. Since Gombrich was tasked with its recreation in 1937, several scholars have attempted editions of the Atlas, all using Warburg’s indistinct, nearly illegible photographs. Now, for this major publishing event, Roberto Ohrt and Axel Heil have done what long seemed impossible, searching the 400,000 images in the archives of the Warburg Institute, identifying those from the Atlas and reconstructing Warburg’s panels, rendering the Atlas visually accessible to the world for the first time.

Aby Warburg: Bilderatlas Mnemosyne: The Original

Hatje Cantz

The essential panel-by-panel companion to Aby Warburg’s epic atlas 
Accompanying the first ever English-language publication of legendary German art historian Aby Warburg’s (1866-1929) Bilderatlas Mnemosyne, this commentary volume provides an explication of each of the panels constituting Warburg’s modernist masterpiece. The Bilderatlas Mnemosyne was begun in 1925 and ended with Warburg’s death in 1929. He created it as a series of 63 large themed panels, each featuring a constellation of images―postcards, maps, adverts, reproductions of artworks―that trace the migration of symbols from antiquity to the present. Warburg’s goal was to show how certain gestures and icons repeated themselves across history, constituting what he called a “pathos formula”―that is, an enduring emotional metaphor. Warburg had the panels photographed, conceiving of their ultimate incarnation as being in book form―but never completed the atlas.\nAssembled over several years through a collaborative process, the texts in this volume analyze each of the panels (which the English edition of the Atlas itself painstakingly reconstructs from the archives of the Warburg Institute). The book is prefaced by an introduction and a general analysis of the whole structure of the Atlas.

Aby Warburg: Bilderatlas Mnemosyne: Commentary Volume

The first presentation of Aby Warburg's rarely seen Pueblo art collection, from his famous 1895-96 visit to the US In 1895, the great German art historian and theorist Aby Warburg (1866-1929) came to the US, where he spent the bulk of his time meeting with Indigenous Americans. The encounter produced two famous works: his 1923 lecture on the Hopi snake ritual, and a body of photographs--both of them much discussed by art historians. Almost unknown until now, however, was the collection of objects he acquired from Pueblo tribes throughout the American Southwest, which he later donated to the Museum fur Völkerkunde (today the Museum am Rothenbaum) in Hamburg. Following Warburg's transdisciplinary approach, this substantial publication examines his guiding principles in assembling his collection, as well as his reading of Pueblo art and culture. The fascination of the Hopi snake ritual among Warburg's contemporaries is highlighted, as is the reception history of the text. Also represented here are the views and strategies of Hopi officials, which have previously been neglected in this context, to regain cultural sovereignty.

Lightning Symbol and Snake Dance: Aby Warburg and Pueblo Art

El 'Almuerzo sobre la hierba' de Manet

Casimiro Libros

Diario romano

Literature & Fiction

Bing, Gertrud

Essays & Correspondence

Siruela

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