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Aby Warburg and the Image in Motion
Taschenbuch von Philippe-Alain Michaud
Sprache: Englisch

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A compelling analysis of the work of art historian Aby Warburg and its radical implications for the study of visual images

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 some of the celebrated art historians of the twentieth century, such as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the decipherment and interpretation of symbolic material. As Philippe-Alain Michaud demonstrates in this important book, Warburg’s project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Friedrich Nietzsche and Jacob 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 Giorgio Vasari, Warburg’s method operated through historical anachronisms and discontinuities. Using procedures of “montage-collision” he brought together pagan artifacts with masterpieces of Florentine Renaissance art, the astrology of the ancient Near East with the Lutheran Reformation, Mannerist festivals with the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was not only the recognition of the radical heterogeneity of objects but the discovery within the art work itself of lines of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism.

Michaud provides us with a book that not only is about Warburg but also extends his intuitions and discoveries into analyses of other categories of imagery like the daguerreotype, the chronophotography of Étienne-Jules Marey, early cinema, and the dances of Loïe Fuller. This edition also includes a foreword by Georges Didi-Huberman and texts by Warburg not previously translated into English.

Chosen as one of the best art books of 2004 by the Washington Post and Bookforum.

A compelling analysis of the work of art historian Aby Warburg and its radical implications for the study of visual images

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 some of the celebrated art historians of the twentieth century, such as Erwin Panofsky, Edgar Wind, and Fritz Saxl. But his heirs developed, for the most part, a domesticated iconology based on the decipherment and interpretation of symbolic material. As Philippe-Alain Michaud demonstrates in this important book, Warburg’s project was remote from any positivist or neo-Kantian ambitions. Nourished on the work of Friedrich Nietzsche and Jacob 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 Giorgio Vasari, Warburg’s method operated through historical anachronisms and discontinuities. Using procedures of “montage-collision” he brought together pagan artifacts with masterpieces of Florentine Renaissance art, the astrology of the ancient Near East with the Lutheran Reformation, Mannerist festivals with the sacred dances of Native Americans. Michaud insists that for Warburg, the practice of art history was not only the recognition of the radical heterogeneity of objects but the discovery within the art work itself of lines of fracture, contradictions, tensions, and the energies of magic, empathy, totemism, and animism.

Michaud provides us with a book that not only is about Warburg but also extends his intuitions and discoveries into analyses of other categories of imagery like the daguerreotype, the chronophotography of Étienne-Jules Marey, early cinema, and the dances of Loïe Fuller. This edition also includes a foreword by Georges Didi-Huberman and texts by Warburg not previously translated into English.

Chosen as one of the best art books of 2004 by the Washington Post and Bookforum.

Über den Autor
Philippe-Alain Michaud Foreword by Georges Didi-Huberman Translated by Sophie Hawkes
Details
Erscheinungsjahr: 2024
Genre: Importe, Kunst
Rubrik: Kunst & Musik
Thema: Kunstgeschichte
Medium: Taschenbuch
ISBN-13: 9781890951818
ISBN-10: 1890951811
Sprache: Englisch
Einband: Kartoniert / Broschiert
Autor: Michaud, Philippe-Alain
Übersetzung: Hawkes, Sophie
Hersteller: Zone Books
Verantwortliche Person für die EU: Produktsicherheitsverantwortliche/r, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de
Maße: 229 x 152 x 23 mm
Von/Mit: Philippe-Alain Michaud
Erscheinungsdatum: 10.09.2024
Gewicht: 0,594 kg
Artikel-ID: 128817133
Über den Autor
Philippe-Alain Michaud Foreword by Georges Didi-Huberman Translated by Sophie Hawkes
Details
Erscheinungsjahr: 2024
Genre: Importe, Kunst
Rubrik: Kunst & Musik
Thema: Kunstgeschichte
Medium: Taschenbuch
ISBN-13: 9781890951818
ISBN-10: 1890951811
Sprache: Englisch
Einband: Kartoniert / Broschiert
Autor: Michaud, Philippe-Alain
Übersetzung: Hawkes, Sophie
Hersteller: Zone Books
Verantwortliche Person für die EU: Produktsicherheitsverantwortliche/r, Europaallee 1, D-36244 Bad Hersfeld, gpsr@libri.de
Maße: 229 x 152 x 23 mm
Von/Mit: Philippe-Alain Michaud
Erscheinungsdatum: 10.09.2024
Gewicht: 0,594 kg
Artikel-ID: 128817133
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