Aby Warburg’s Bilderatlas Mnemosyne makes use of a very specific form of the genre and medium of atlas. Instead of projecting geographical knowledge onto a two-dimensional plane as the conventional cartographic map does, his atlas consists of a number of plates each of which is a configuration of reproduced images, which are collected under a common heading or leitmotif. Gertrude Bing later supplemented these headings with a short explanation, - for example: “Pathos of Suffering in energetic ..
There are other forms of iconoclasm besides the destruction of idols. For example, an iconoclast can...
Pozaba briše meje med znamenjem in njegovim pomenom. V vizualni obliki je teoretska struktura pozabe...
Taking as a reference Warburg’s iconology of the interval, this paper attempts to explore the logic ...
This study aims to explore the visual knowledge organization of Aby Warburg’s Bilderatlas Mnemosyne ...
[EN] In 1905, Aby Warburg, a german art historian of Jewish origin interested in western classical c...
This essay aims to examine Aby Warburg’s Mnemosyne Atlas according to two conceptual perspectives th...
This article deals with a particular aspect of the genesis of the Bilderatlas Mnemosyne composed by ...
From 1925 until his death in 1929 the Hamburg-based art and cultural scholar Aby Warburg worked on h...
Filippo Trentin's essay 'Warburg's Ghost: On Literary Atlases and the "Anatopic" Shift of a Cartogra...
The object of this study is one of the most ambitious projects of twentieth-century art history: Aby...
With his Bilderatlas dedicated to Mnemosyne, Aby Warburg anticipated a number of issues that would h...
Mick Finch’s body of digital collages, entitled The Book of Knowledge, explores the transcription an...
Sample—the contribution seeks to demonstrate a sideways transposition between panel-works, lineups a...
While Atlas eines ängstlichen Mannes develops Christoph Ransmayr’s long-term interest in the relati...
An exhibition at the Haus der Kulturen der Welt, Berlin, curated by Roberto Ohrt and Axel Heil in co...
There are other forms of iconoclasm besides the destruction of idols. For example, an iconoclast can...
Pozaba briše meje med znamenjem in njegovim pomenom. V vizualni obliki je teoretska struktura pozabe...
Taking as a reference Warburg’s iconology of the interval, this paper attempts to explore the logic ...
This study aims to explore the visual knowledge organization of Aby Warburg’s Bilderatlas Mnemosyne ...
[EN] In 1905, Aby Warburg, a german art historian of Jewish origin interested in western classical c...
This essay aims to examine Aby Warburg’s Mnemosyne Atlas according to two conceptual perspectives th...
This article deals with a particular aspect of the genesis of the Bilderatlas Mnemosyne composed by ...
From 1925 until his death in 1929 the Hamburg-based art and cultural scholar Aby Warburg worked on h...
Filippo Trentin's essay 'Warburg's Ghost: On Literary Atlases and the "Anatopic" Shift of a Cartogra...
The object of this study is one of the most ambitious projects of twentieth-century art history: Aby...
With his Bilderatlas dedicated to Mnemosyne, Aby Warburg anticipated a number of issues that would h...
Mick Finch’s body of digital collages, entitled The Book of Knowledge, explores the transcription an...
Sample—the contribution seeks to demonstrate a sideways transposition between panel-works, lineups a...
While Atlas eines ängstlichen Mannes develops Christoph Ransmayr’s long-term interest in the relati...
An exhibition at the Haus der Kulturen der Welt, Berlin, curated by Roberto Ohrt and Axel Heil in co...
There are other forms of iconoclasm besides the destruction of idols. For example, an iconoclast can...
Pozaba briše meje med znamenjem in njegovim pomenom. V vizualni obliki je teoretska struktura pozabe...
Taking as a reference Warburg’s iconology of the interval, this paper attempts to explore the logic ...