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.

New Exhibition: “Füssli, the Realm of Dreams and the Fantastic” at Musée Jacquemart-André

16 September 2022 – 23 January 2023
Musée Jacquemart-André, Paris


In autumn 2022, the Musée Jacquemart-André will hold an exhibition devoted to the oeuvre of the Swiss-born British painter, Henry Fuseli (Johann Heinrich Füssli, 1741–1825). Comprising sixty works from public and private collections, the itinerary will present the most emblematic of works by Füssli, the artist of the imaginary and the sublime. From Shakespearean themes to representations of dreams, nightmares, and apparitions, and mythological and Biblical illustrations, Füssli forged a new aesthetic that shifted between reality and the fantastic.


Aby Warburgs Bilderkosmos. “Eine Art Weltkrieg” von Anselm Franke und Erhard Schüttpelz

Der unscheinbar daherkommende Band Eine Art Weltkrieg von Anselm Franke und Erhard Schüttpelz (Spector Books 2021) unternimmt den Versuch, den „meistgelesene[n] Text Warburgs und der Kunstgeschichte des 20. Jahrhunderts“ (S. 14), namentlich Aby Warburgs sogenanntes Schlangenritual, und die sich seither um diese Ausführungen rankenden – oder sollte man sagen: schlängelnden? – Diskurse wie Bilddiskkurse neu einzuordnen.

The four versions of Aby Warburg’s Mnemosyne Picture Atlas.

Most discussions of Aby Warburg’s picture atlas understandably focus on issues of iconography and iconology. In contrast, this blog concentrates exclusively on aspects of its material history and the photographic campaigns that guaranteed the survival of the various stages, or ‘series’ of the Atlas. Much of this history has been discussed by Claudia Wedepohl and the curators of the recent Mnemosyne atlas exhibition, Roberto Ohrt and Axel Heil, in their monumental publication Aby Warburg: Bilderatlas Mnemosyne – The Original [1]. The present blog revisits these issues with a tight focus on the questions ‘What did the original atlas in Hamburg consist of?’ and ‘How many times was it photographed?’ While I propose a different answer to the second question than the above mentioned authors, with regard to the first one, my aim is rather to present in greater detail the basic facts. I am doing this not least to counter some misconceptions of the original presentation of the atlas in the Kulturwissenschaftliche Bibliothek Warburg (K.B.W.)

Dusty Frames: Looking at 19th and 20th Century Art in the Courtauld Gallery.

Ascending the semi-circular staircase of the Courtauld Gallery, with its freshly coated electric blue bannisters, the visitor undertakes a physically demanding and intellectually exhilarating climb through centuries of artistic production that are carefully arranged across three floors. The Gallery has recently reopened its doors with much pomp after a two-year hiatus for building renovations, welcoming seasoned and new crowds to its sleek, clean-cut spaces.

Die Welt Spiegeln. Fritz Saxl, Rudolf Bernoulli und eine Sammlung kosmologischer Bilder

Am 11. Januar 1929 schreibt Fritz Saxl an den Schweizer Kunsthistoriker Rudolf Bernoulli, Konservator der graphischen Sammlung der ETH in Zürich: Es „ist doch wirklich sehr schade, dass der Weltspiegel nicht mehr die Welt weiter zu spiegeln beabsichtigt.” Kurz zuvor hatte Bernoulli ihm die Einstellung einer Serie von Vignetten historischer Kosmosbilder angekündigt, die er ab 1921 wöchentlich im Weltspiegel publiziert hatte. Er bot auch an, der K.B.W. etwaige Nummern, die noch fehlten, nachzusenden. So finden sich in der Bibliothek des Warburg Institute heute sämtliche Exemplare des Weltspiegels von 1921 bis 1929 als gebundene Sammlung.

Hero Recast as Human: Transformation of Rustam in the Shāhnāmā

Through the centuries, Persian classical tales have regaled audiences with stories narrating the lives and emotions of diverse human actors, including heroes and anti-heroes, transmitted orally as well as copied into manuscripts containing illustrations. One of the most-loved heroes of Persian classical literature is the legendary Rustam, the fiery and brave military commander and king-maker from Sistan.

Bewegtes Beiwerk, Nachleben, and shi 勢 (energy)

The revival of certain elements such as bewegtes Beiwerk was certainly due to the “period of discovery” that Botticelli witnessed in the early Renaissance. In this period, the circulation and migration of human beings, artworks, and knowledge started to become a part of daily life. Something similar, one might add, occurred in the sixteenth century; at this time, the Portuguese merchants and, shortly after, the Jesuits arrived in China. In the late sixteenth and seventeenth centuries, new painting techniques, innovative compositions, new types of subject matter and renewed philosophical and scientific interests and thoughts emerged.

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