Aby Warburg and the Image in Motion PDF ´ Aby Warburg

The purposeful discontinuities and juxtapositions of Aby Warburg's iconography and how they can be used to analyze other imagery Aby Warburg 1866 1929 is best known as the originator of the discipline of iconology and as the founder of the institute that bears his name His followers included such celebrated art historians of the twentieth century as Erwin Panofsky Edgar Wind and Fritz Saxl But his heirs developed for the most part a domesticated iconology based on the interpretation of symbolic material As Phillippe Alain Michaud shows in this important book Warburg's own project was remote from any positivist or neo Kantian ambitions Nourished on the work of Nietzsche and Burckhardt Warburg fashioned a critical iconology to reveal the irrationality of the image in Western culture Opposing the grand teleological narratives of art inaugurated by Vasari Warburg's method operated through historical anachronisms and discontinuities Using montage collision to create textless collections of images he brought together pagan artifacts and masterpieces of Florentine Renaissance art ancient Near East astrology and the Lutheran Reformation Mannerist festivals and the sacred dances of Native Americans Michaud insists that for Warburg the practice of art history was the discovery within the art work itself of fracture contradictions tensions and the energies of magic empathy totemism and animism Challenging normative accounts of Western European classicism Warburg located the real sources of the Renaissance in the Dionysian spirit in the expression of movement and dance in the experience of trance personified in the frenzied nymph or ecstatic maenad Aby Warburg and the Image in Motion is not only a book about Warburg but a book written with him Michaud uses Warburg's intuitions and discoveries to analyze other categories of imagery including the daguerreotype the chronophotography of Etienne Jules Marey early cinema and the dances of Loie Fuller It will be essential reading for anyone concerned with the origins of modern art history and the visual culture of modernity


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    I've just began reading it but Georges Didi Huberman's preface is magnificent Warburg's Mnemosyne project carefully described and explained by Michaud has that element of strangeness that always captures my attention in an encounter with a thinker Borges employed the same reading criterion by cultivating his particular list of raros Warburg has just become one of my raros