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Das von der Stiftung Aby-Warburg unterhaltende Warburg-Haus in Hamburg führt mit Vortragsreihen, Stipendien und einer Warburg-Professur die Tradition der ehemaligen Kulturwissenschaftlichen Bibliothek Warburg fort. Mit der Publikationsreihe, in der Monographien und Sammelbände erscheinen, werden die Ergebnisse der Diskussionen und Forschungen am Warburg-Haus vorgelegt.
The portrait of the medieval ruler is not just a source of political history, but one of its actors. Using select major works from the history of political images from the tenth to seventeenth century, this volume demonstrates their potential for political participation, thereby broadening the general understanding of image politics, which is based on a modern totality of power that was alien to the middle ages and its images.
Konzepte des Ausgleichens und Aufwiegens, Balancierens und Kompensierens gehören ins Basisrepertoire kultureller Reflexion. Ob prästabilierte Harmonie, Krafterhaltung und balance naturelle, balance of powers oder Work-Life-Balance – die Denkfigur des Ausgleichs durchquert und verbindet die unterschiedlichsten kulturellen Felder. Als Harmonie und Proportion prägen sie auch ästhetische Vorstellungen von der Antike bis zur Gegenwart. Dabei sind Gleichgewicht und Balance kaum je gegeben, sondern bezeichnen meist Zielstellungen, denen man sich durch komplizierte Techniken des Abwägens, Abmessens, Vergleichens, Verhandelns und Austarierens nähern kann. Der vorliegende Band widmet sich theoretischen wie künstlerischen Versuchen, Balancen zu denken und herzustellen.
Palais de Tokyo. Art politics and aesthetics in the 20th and 21st century
Since the beginning of the 20th century, the monumental Palais de Tokyo in Paris has been a seismograph for the role of contemporary art in international perspectives and its public place in society. Today, as one of the largest art centers in Europe, it is one of the world’s leading exhibition venues. Conceived in intellectual exchanges in the context of the League of Nations and planned as a state-of-the-art museum building in the »world capital of art«, the Palais de Tokyo was built on the occasion of the 1937 world’s fair for both a museum of the state and one of the city.
This first comprehensive monograph shows how France’s first state museum of modern art became a global center of contemporary art and art theory, drawing on a vast amount of source material. The Musée national d’Art moderne, the 1937 World Exposition, the occupation and post-war period, the genesis of the Centre Pompidou in response to the Palais de Tokyo, the experimental Musée d’Art et d’Essai, the Institut des Hautes Études en Arts Plastiques and ambitions for a national center of photography and film since the 1980s are some of the key elements of this history up to the emergence of the contemporary institution and theories of relational aesthetics and participatory art.
The material and intellectual presence of Egypt is at the heart of Western culture, religion and art from Antiquity to the present. This volume aims to provide a long term and interdisciplinary perspective on Egypt and its mnemohistory, taking theories on objects and their agency as its main point of departure. The central questions the book addresses are why, from the first millennium BC onwards, things and concepts Egyptian are to be found in such a great variety of places throughout European history and how we can account for their enduring impact over time. By taking a radically object-oriented perspective on this question, this book is also a major contribution to current debates on the agency of artefacts across archaeology, anthropology and art history.
From time immemorial, works of art have been moved in space and time to locations that are significantly different from the places they are thought to originate from. But how do such translocations come about? What are the consequences for the appearance, semantics, and function of the artefacts? And how are they categorized or manipulated by contemporaries and researchers?
These questions are addressed by the publication’s contributions which, in particular, analyze the ideological and power-political dimensions of such migrations. The case studies cover stolen god statues in antiquity through to borrowed motifs in the early modern age, misunderstood works of supposedly "primitive" art through to "rescued" architecture fragments at the present time.
Art historians have been facing the challenge – even from before the advent of globalization – of writing for an international audience and translating their own work into a foreign language – whether forced by exile, voluntary migration, or simply in order to reach wider audiences.
Migrating Histories of Art aims to study the biographical and academic impact of these self-translations, and how the adoption and processing of foreign-language texts and their corresponding methodologies have been fundamental to the disciplinary discourse of art history. While often creating distinctly "multifaceted" personal biographies and establishing an international disciplinary discourse, self-translation also fosters the creation of instances of linguistic and methodological hegemony.
In sixteenth-century Venice, paintings were often treated as living beings. As this book shows, paintings attended dinner parties, healed the sick, made money, and became involved in love affairs. Presenting a range of case studies, Elsje van Kessel offers a detailed examination of the agency paintings and other two-dimensional images could exert. This lifelike agency is not only connected to the seemingly naturalistic style of these images – works by Titian, Giorgione and their contemporaries, illustrated here in over 150 plates. It is also brought in relation to their social-historical contexts, meticulously unravelled through archival research. Grounded in the theoretical literature on the agency of material things, The Lives of Paintings contributes to Venetian studies as well as engaging with wider debates on the attribution of life and presence to images and objects.
The publication of Winckelmann’s Geschichte der Kunst des Altertums in 1764 is considered as the defining moment in the genesis of the modern, scientific study of sculpture. It was a formalist and secular history, concentrating on the statue as a work of art, and studying sculpture in a museum setting, abstracting from its original religious, social or political functions. Other 17th- and 18th-century authors tried to understand those functions and why statues so often excited violent reactions ranging from adoration to abuse.
The collection of essays aims to be a first investigation of the questions that arise out of an awareness that the origins of the Western historiography are much more complex than may appear from the perspective of Winckelmann’s vision of the Graeco-Roman tradition.
Throughout history, and all over the world, viewers have treated works of art as if they are living beings: speaking to them, falling in love with them, kissing or beating them. Although over the past 20 years the catalogue of individual cases of such behavior towards art has increased immensely, there are few attempts at formulating a theoretical account of them, or writing the history of how such responses were considered, defined or understood. That is what this book sets out to do: to reconstruct some crucial chapters in the history of thought about such reflections in Western Europe, and to offer some building blocks towards a theoretical account of such responses, drawing on the work of Aby Warburg and Alfred Gell.
Vistas across the land, the landscape, and the garden are a particular hallmark of the Italian palaces and villas of the early modern era. The author of this book provides the first detailed documentation of the Renaissance reconstruction of the antique discourse on vistas of ideal places and architecturally staged and framed views. Making special reference to the treatise of Alberti and the Ducal Palace in Urbino, the buildings and treatise of Palladio, and mannierist and baroque buildings and texts, he also analyses the transformation of the ancient topos of the 'theatre of the hills' and the creation of the new, early-modern paradigm of the ideal view framed by the rectangular 'window with a vista', for which the term 'fenestra prospectiva' was coined in the 16th Century.
How does a city become an open city after a long history of being walled? Turin is notable in this regard for two important architectural ensembles: the Superga Basilica and Piazza Vittorio Emanuele. Defortification means destruction as well as the creation of new spaces. The architectural features at the edges of Turin give evidence to these changes in a very specific way, for they contributed to a new political order in the city and country.
Der Philosoph Ernst Cassirer liest Goethe als einen Autor von philosophischer Dignität. Er bringt Goethes Texte auf eine individuelle Weise erneut zum Sprechen, indem er sie im Licht seiner eigenen Theorie liest und an ihnen exemplarisch werden läßt, wie eine symboltheoretisch begründete Kulturphilosophie im umfassenden Sinne zu verstehen sei. Die Aufsätze des Bandes betreten wissenschaftliches Neuland in zwei Richtungen: Indem sie nach der philosophischen Rezeption eines Dichters im Werk des Theoretikers fragen, dem wir die elaborierteste Kulturphilosophie des 20. Jahrhunderts verdanken, präsentieren sie zugleich eine Facette des Wirkens Goethescher Dichtung und Theoriebildung in der zeitgenössischen Philosophie, die bisher in der Forschung wenig Beachtung gefunden hat. Hier wird ein Themenbereich angesprochen, der durch die universale Gelehrsamkeit Goethes wie Cassirers aus sich selbst heraus und par excellence die Notwendigkeit des interdisziplinären Zusammenspiels der Fächer erkennen läßt.