The Hamburg cultural scientist Aby M. Warburg (–) was a pioneer of the modern study of art and visual culture. Before the First World War, he made. In December , Warburg started to compose a work in the form of a picture atlas named Mnemosyne. Aby M. Warburg «Mnemosyne-Atlas» | Mnemosyne-Atlas, Boards of. Aby M. Warburg, «Mnemosyne-Atlas», – Mnemosyne-Atlas, Boards of the.

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Working with photographs was by no means a matter.

Inspiration: Aby Warburg’s Mnemosyne Atlas – Radical Cut-Up

It is in the area of mass orgiastic seizure that one should seek the mint that stamps the expressive forms of extreme inner possession on the memory with such intensity—inasmuch as it can be expressed through gesture—that these engrams of affective experience survive in the form of a heritage preserved mnemmosyne the memory.

In the practices of Hellenistic astrology the clear, natural pantheon of the Greeks was bundled together into a gang of warbrg forms, impenetrable and grotesque hieroglyphs of fate, which awoke human religiosity and which had to be the forceful demand of an age that, in relation to the style of its outward appearance, demanded that the redis- covered word of classical antiquity should be visible in organic form. It is little wonder, then, that the atlas also knows no boundaries within art.

In DecemberWarburg started to compose a bay in the form of a picture atlas named Mnemosyne. What was utterly extraordinary, however, was the project to which he dedicated the final years of his life: The Hamburg cultural scientist Aby M. atllas

Language German Description 48 pp. Go directly to content Alt 1 Go directly to second-level navigation Alt 3 Go directly to first-level navigation Alt 2. Cushing had lived for years with the Zuni in Knemosyne Mexico and fascinated Warburg wanted to see the Pueblos for himself. Hi, very interesting, thank you. Retrieved from ” https: The affrmation of life was celebrated in triumphal sculpture in all its pomp, while the legends on the reliefs of pagan coffns presented by means of mythic symbols the desperate struggle for the ascent of the human soul to heaven.

The conscious creation of distance between oneself and the external world can probably be designated as the founding act of human civilization. Indeed, the Colosseum, just a few mnemoshne away from the Arch of Constantine, grimly reminds the Roman of the Middle Ages and the Re- naissance that the primal impulse to sacrifce humans had imposed its cult site on pagan Rome, and even up to the present Rome continues to present the uncanny duality of martyrs and the victory laurel of the Emperor.


A further product of his Florentine period was his series of lectures on Leonardo da Vinciheld in at the Kunsthalle in Hamburg.

On the contrary, when looking at pagan art, the superfcial daily use of this theory of opposites makes it diffcult to take seriously the role of sophrosyne and ecstasy as a single, organic functional polarity that marks the limit values of the human will to expression.

He suffered from manic depression and symptoms of schizophrenia[3] and was hospitalized in Ludwig Binswanger ‘s neurological clinic in KreuzlingenSwitzerland in Learn how your comment data is processed. Flavien Menu gently gave us the possibility to reproduce here this content, for the sake of archival and diffusion. It is little wonder, then, that the atlas also knows no boundaries within art. However, to the extent that this encouragement proceeded as a mnemic function, in other words, had already been reformed once before by art using preexisting forms, the act of restitution remained positioned between impulsive self-release and a conscious and controlled use of forms, in other words, between Dionysus and Apollo, and provided the artistic genius with the psychic space for mbemosyne expressions out of his most personal formal language.

In Warburg began his study of art history, history and archaeology in Bonn and attended the lectures on the history of religion by Hermann Usenerthose on cultural history by Karl Lamprecht and on art history by Carl Wagburg.

The Mnemosyne Atlas, Aby Warburg – The Absorption of the Expressive Values of the Past

Skip to main content. This page was last edited on 15 Novemberat The examples that are brought together on the panels of his “Bilderatlas” [atlas of images], however, have little to do with the great “masterpieces” and recognized ‘Values.

In Warburg and his wife took up residence in Florence. This the first time that the research group has presented its work with and on the atlas for discussion in a broader context. Maria Aracoeli, which were permitted to accompany the pious pilgrim ascend- ing into the church like dream images from the forbidden region of unholy demonic paganism. He predominantly used photographs, but also included illustrations from books or picture files, original graphics, and newspaper clippings.


This contradiction in the external expression of self-consciousness demanded that the gaze of the waning Middle Ages, absorbed in its object, engage in a parallel ethical confrontation between aggressive pagan feelings of personal identity and those of Christian humility.

Mennonite missionary Heinrich R.

mnemosyme The force of the entry of the classical language of gesture can thus be explained indirectly as a result of the dual demands of this reactive energy, which sought the reproduction of the clear expressive values of antiquity, free from the fetters of a tradition that lacked consistency.

For the exhibition at the ZKM, all sixty-three of the panels were reconstructed in their original dimensions, two with the original pictorial material. For were not the Hellenistic star signs symbols of an eschatological raptus in caelum, just as the tales of Ovid that transform humans back into matter correspondingly symbolize the raptus ad inferos? As a matter of course he made use of modern techniques of reproduction in order to develop an “instrument” of knowledge on this basis.

The unhindered release of ahy bodily movement, especially as it occurred amongst the followers of the gods of intoxication in Asia Minor, encompasses the entire range of dynamic expressions of warbhrg life of a humanity shaken by fear, from helpless melancholy to murderous frenzy, and in all mimetic actions, which lie somewhere in the middle, as in the thiasotic cult, it is possible to detect the faint echo of such abyssal devotion in the artistic depiction of the actions of walking, running, dancing, grasping, fetching, or carrying.

Best, and thanks for reading Socks, Fosco and Mnnemosyne.

Unfortunately the scribd version of his introduction has been deleted since our post.

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