Fällt ein Baum im Wald… Das bekannte Gleichnis fragt nach der Beziehung von Ereignis und Wahrnehmung respektive nach der Bedeutung von Zeugenschaft und berührt somit letztlich ein geschichtstheoretisches Problem. In den Wäldern Frankreichs fallen derzeit Bäume zu tausenden. Darüber, ob ihr Sturz ein Geräusch verursacht, braucht nicht spekuliert werden: Zeugen sind genügend vorhanden. Die Bäume, allesamt Eichen, werden gefällt für die Instandsetzung von Notre Dame, den hölzernen Dachstuhl um genau zu sein.
Dr. Yuka Kadoi
(Institute of Art History, University of Vienna)
Wednesday, 28 April 2021, 5:30 pm
Online Lecture, hosted by the Warburg Institute.
Free and open to all via Zoom; please book in advance via the Warburg Institute website.
Aus Anlass von Burckhardts 200. Geburtstag haben sich im Jahr 2018 Historiker, Kunst- und Kulturwissenschaftler in Basel versammelt, um ausgehend von seinem bis heute Maßstäbe setzenden Essay »Die Cultur der Renaissance in Italien« (1860) nach der Aktualität seines Werks zu fragen. Entstanden ist ein Reader, der gleichermaßen kritisch wie würdigend zum Weiterlesen einer der wirkmächtigsten akademischen Hinterlassenschaften ermuntert.
Last month, a workshop that I organized on the American art historian and New York intellectual Meyer Schapiro (1904-1996) finally came to fruition. Hosted by the Centre for American Art at the Courtauld Institute here in London, the workshop was conceived as an afternoon of engagement with texts by Schapiro and was punctuated by three presentations: the first by myself, the second by Jérémie Koering of the University of Fribourg, and the third by Hagi Kenaan of University of Tel Aviv. Other scholars, including members of the Bilderfahrzeuge Project, joined as discussants and in the intervening days I’ve continued to think about the workshop and the ideas that it helped generate. In what follows I offer up some further reflections.
This lecture series is organized by Jess Bailey (UC Berkeley) and Felix Jäger (Bilderfahrzeuge Project / Warburg Institute), and complements a workshop and a public keynote presentation centered on “technologies of disability” in the...
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 the importance of the reception of ancient Roman republicanism among the American revolutionaries and cites one of the most well-known expressions of whiggish sentiment of the time—Trenchard and Gordon’s essays from the 1720s known as ‘Cato’s Letters’. Quoting the letters’ assertion that “words are too weak” to express the magnitude of the impact of the history of ancient Rome on the 18th century republican mind, Bailyn wonders if pictures might come closer to the mark.
“[…] 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. If these passing remarks concerning the copying work of Locke’s servant, Sylvester Brounower, might at first appear to be of little interest, they take on much more significance when matched with the drawings that they describe. Thanks to the fact that Courten kept a prominent cabinet of curiosities in London that would later be acquired by Hans Sloane, whose collection in turn helped form the basis of the British Museum, we can do just that.
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 and loss were limited to death scenes of legendary and historic rulers, heroes and anti-heroes, and saints and protagonists from literary works. The main corpus of images, however, contained themes that exalted the ruler, depicted his might and strength and displayed his connoisseurship of literature, art and culture. Therefore, despite their limited role, the tragic end of heroes, rulers and saints were as much part of the literary and visual cultural history, as were narratives and legends glorifying their lives.
This blog post follows on from the previous post Modi and Metamorphoses (I). Based on only this one particular work, it is almost impossible to speak about Sedlmayr´s manner as such, since we do...
Bilderfahrzeuge Research Associate Oliver O’Donnell is giving a talk as part of the Philosophy and Art History Research Seminar at the University of Essex. Locke’s Cannibal Thursday 5th November 2020, 3pm (ONLINE) This talk analyzes...
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.
A new series of online events at the Warburg Institute. Convened and organised by Eckart Marchand.
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. I would like to say that, in my exploration of English baroque in comparative context, that this was a deeply thought decision, to consider pigeons. I would like to say that I have brooded over Haraway and theories of the city in the Anthropocene and the now admittedly trendy idea of “animal studies”. This would be both a truth and a lie. A truth because I have been thinking about these things, but also haven’t had the ability to read them, not in any format other than in purloined pdf files. As we will tell our students someday, we’re all Auerbaching it now in academia; that is, if there is a someday and if I am in it, and if someday there are still students.
A review of the exhibition „Zwischen Kosmos und Pathos. Berliner Werke aus Aby Warburgs Bilderatlas Mnemosyne“ at the Gemäldegalerie, Staatliche Museen zu Berlin, 08.08.-01.11. 2020.
Derzeit zeigt das Haus der Kulturen der Welt die „originalen“ Photographien von Aby Warburgs Bilderatlas Mnemosyne aus der Photographischen Sammlung des Warburg Institute in London. In Ergänzung dieser Schau sind in der Gemäldegalerie diejenigen Objekte aus den Berliner Museen versammelt worden, deren Reproduktionen zum Repertoire des Atlasses zählen.