Kategorie: Bilderfahrzeuge

Das Projekt „Bilderfahrzeuge – Aby Warburg’s Legacy and the Future of Iconology“ widmet sich der Erforschung der Wanderung von Bildern, Objekte, Waren und Texten, kurz gesagt der Wanderung von Ideen in einem breiten historischen und geografischen Kontext. Das Projekt wird gefördert durch das Bundesministerium für Bildung und Forschung und von der Max Weber Stiftung in Kooperation ausgeführt. Arbeitsschwerpunkt ist das Warburg Institute in London, weitere Mitglieder des Forschungsverbunds sind das Deutsche Forum für Kunstgeschichte in Paris, die Humboldt-Universität zu Berlin, das Kunsthistorische Institut in Florenz und das Warburg Haus der Universität Hamburg.

The Ideological Origins of American Insurrection

In the preface to the 50th anniversary edition of his Pulitzer prize winning study, The Ideological Origins of the American Revolution, the Harvard historian Bernard Bailyn reflects back on his book’s original argument of 1967, one based on an unprecedented attention to the language and rhetoric of the manifold political pamphlets that circulated in the American colonies between 1760 and 1776. Towards the end of his retrospection, Bailyn underlines …

Locke to Courten: a letter about “Draughts”

“[…] I the last weeke put into the hands of Mr Smith a book seller liveing at the Princes Armes in Pauls Churchyard 26 Draughts of the inhabitants of severall remote parts of the world espetially the East Indies […] For the excellency of the drawing I will not answer they being don by my boy who hath faithfully enough represented the originals they were copyed from.” So wrote the famed philosopher John Locke to his friend William Courten, aka William Charleton, from Amsterdam in August 1687…

The Grieving Figure in Scenes of Loss and Mourning in Mughal Manuscript Painting

Images depicting sorrow were rare, though not an uncommon genre, contained in illustrated manuscripts produced during the Mughal reign in India (1526 – 1857). The tradition of image-making during Mughal rule can be traced to earlier Timurid (15th century) and Ilkhanid periods (14th century), whose subject mainly consisted of histories of dynasties, Persian poetic and literary works and biographies of Turko-Mongol rulers. Images displaying tragedy …

Modi and Metamorphoses (I)

An aged man, wearing a hat and sporting an impressive moustache looks, somehow sceptical and at the same time absorbed, towards the beholder. The dark dominating tone of the painting is supported by the background and is challenged through the white-yellowish and in some cases green-redish flesh as well as the white thick brushstrokes in the area of the neck. These broad, parallel lines suggest the texture of a fabric and create a dazzling counterpoint to the dark coat.

Consider the Pigeon

It is now both a convention and also a joke to make the title of pieces about animals “Consider the __” where the blank is the name of the animal. This is because of a now famous essay that David Foster Wallace wrote called “Consider the Lobster”. So now: Consider the Pigeon…

‘Blick Richtung Europa? 15 Perspektiven’

A review of the workshop ‚Blick Richtung Europa? 15 Perspektiven‘ (8-9 July 2020, Berlin) by Anita Hosseini and Judith Rottenburg.

Stets richten und richteten sich Blicke aus Europa in alle Himmelsrichtungen und generierten Ideen und Bilder des ‚Anderen‘. Die dabei selbstverständlich in Anspruch genommene Position des beobachtenden und damit auch deutenden Subjekts kann mit politischen, wissenschaftlichen und kulturellen Machtansprüchen und Expansionsbestreben Hand in Hand gehen. Was passiert jedoch, wenn die Blickrichtung gewendet, wenn die Aufmerksamkeit auf die Tatsache gelenkt wird, dass diese Blicke immer schon gespiegelt wurden?

Aby Warburg: Bilderatlas Mnemosyne

Exhibition. In the 1920s, Aby Warburg created his so-called Bilderatlas Mnemosyne, tracing recurring visual themes and patterns across time, from antiquity to the Renaissance and beyond. His approach provides inspiration for today’s visually and digitally dominated world. For the first time ever, all 63 panels of the Atlas have been recovered from Warburg’s original images and will be available to view in a special display at the Haus der Kulturen der Welt (HKW) in Berlin.

A modern antiquity

Plaster casts are image vehicles par excellence. They can reproduce and multiply three-dimensional form, and serve the dissemination of visual ideas from one place to another; they can record lost stages of a work’s appearance, e.g. pre-completion, pre-damage, pre-destruction or pre-restauration. Often perceived as perfect one to one copies of the external form of a three-dimensional work, they can also accidentally or deliberately differ…

1 August 1914 – The First Page of Aby Warburg’s ‘Kriegs-Zibaldone’, his war journal

“On 1 August 1914, after all, the mobilisation was announced. Our Kaiser has proven himself so worthy that he could even lose the war without disgrace; what God may prevent.” Aby Warburg began his war journal of the years 1914–1918 with these words. He positions himself in line with the patriotism of the majority of his milieu of the bourgeoisie, supporting “our Kaiser”. In all the praise of the Kaiser, though, he underlines the uncertain outcome of the war, even the possibility of losing it— a notion present already in the very first sentence of this diary.

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