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Warburg, Aby --- Art
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Art --- Warburg, Aby,
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Religion --- History. --- Histoire --- Warburg, Aby, --- Warburg Institute. --- -Religion, Primitive --- Atheism --- God --- Irreligion --- Religions --- Theology --- History --- Warburg, Aby --- Warburg Institute. Library --- -History --- Religious history --- Warburg, Aby Moritz, --- Bibliothek Warburg --- London. --- Kulturwissenschaftliche Bibliothek Warburg --- Religion - History.
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Dieter Wuttke gilt als der Pionier der Wiederentdeckung Aby M. Warburgs und seines Werks. Seine maßgeblichen, zu Warburgs Bedeutung hinführenden, das Konzept seiner Kulturwissenschaft und deren Vorbildcharakter erläuternden Schriften sind im vorliegenden Band versammelt. Bisher ungedruckte Beiträge bieten einige Warburg-Trouvaillen, darüber hinaus bietet der Autor unter der Überschrift "Warburg aus dem Zettelkasten" Exkurse, Fragmente, Glossen und Notizen zu den verschiedensten Themen, die sich ihm im Laufe der Jahrzehnte beim Durchforschen von Archiven und Beiträgen ergeben haben. Er folgt dabei dem Alphabet von Alchemie, Archiv und Benjamin über Carlyle, Dikta und Krankheit zu Mnemosyne-Atlas, Persönliches, Promotion und Tod.
History of civilization --- libraries [institutions] --- Warburg, Aby --- University of London --- anno 1900-1999 --- anno 2000-2099 --- Art --- Historiography --- Warburg, Aby, --- Warburg, Aby Moritz, --- Warburg Institute. --- University of London. Warburg Institute --- London. University. Warburg Institute --- cultuurgeschiedenis
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Art --- Historiography. --- 7.04 --- -Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Historiography --- Warburg, Aby --- -Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- 7.04 Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- -7.04 Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Art, Occidental --- Warburg, Aby, --- Warburg, Aby Moritz, --- Warburg, Aby M. --- Art - Historiography.
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Aesthetics [German ] --- Esthetica [Duitse ] --- Esthétique allemande --- Aesthetics, German --- Aesthetics, Modern --- Esthétique --- Esthétique moderne --- Cassirer, Ernst, --- Panofsky, Erwin, --- Warburg, Aby, --- Aesthetics, German. --- -7.01 --- Modern aesthetics --- German aesthetics --- Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- -Cassirer, Ernst --- Panofsky, Erwin --- Warburg, Aby --- 7.01 Esthetica. Kunstfilosofie. Kunsttheorie. Algemene problemen inzake kunst --- Esthétique allemande --- Esthétique --- Esthétique moderne --- 7.01 --- Aesthetics --- History --- Warburg, Aby Moritz, --- Cassirer, Ernst --- Aesthetics [Modern ] --- 19th century --- 20th century --- Warburg, Aby M. --- Aesthetics, Modern - 19th century. --- Aesthetics, Modern - 20th century.
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The author discusses the Mantuan fresco’s key position in the iconographic Nachleben of the Kairos/Occasio figure, and the way the theme was accustomed in the Quattrocento and the transition from the Middle Ages to the Renaissance. The ancient Greeks had a name for the joy as well as the sorrow of an occasion that suddenly presents itself, but disappears just as swiftly: kairos, or in Latin occasio. Using the Mantua grisaille as starting point and leading motif, Barbara Baert guides us in her own intriguing way through the history of the representation of this figure in art. How did the archaic Greek Kairos model survive in the Quattrocento? Which appearances did Kairos take on along the way and how can we explain his mutations? The author shows us how the semantic and rhetorical expansion of the concept kairos/occasio brought about gender switches and conflations with other personifications of time and fate. Grasping the lock of hair of Kairos/Occasio, spinning the wheel of fortune of Tyche/Fortuna, acting as the mast of the ship and holding the billowing sails, she steers us through depictions of the motionlessness of the moment throughout history before dropping anchor in the fascinating vocabulary of Aby Warburg. During this journey, she invites us to go offshore looking for a new critical moment that presents itself as a powerful opening of possibilities.
Kairos (The Greek word) --- Fortuna [Roman deity] --- Grisaille painting --- Warburg, Aby --- Iconography --- grisaille --- iconography --- personification --- Mantegna, Andrea
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Art --- Warburg, Aby, --- Cassirer, Ernst, --- Panofsky, Erwin, --- Cassirer, Ernst --- Warburg, Aby --- Hamburg --- Philosophy --- Mental philosophy --- Humanities --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Warburg, Aby Moritz, --- Panofsky, Erwin --- anno 1910-1919 --- anno 1900-1909 --- anno 1930-1939 --- anno 1940-1949 --- anno 1920-1929 --- Art, Primitive
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Aesthetics --- Benjamin, Walter --- Warburg, Aby --- Art historians --- Historiens d'art --- Warburg, Aby, --- Benjamin, Walter, --- Criticism and interpretation. --- Art --- Philosophy, Comparative. --- Historiography. --- -Philosophy, Comparative --- Comparative philosophy --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Historiography --- -Warburg, Aby --- -Benjamin, W. --- Criticism and interpretation --- -Criticism and interpretation --- Philosophy, Comparative --- Warburg, Aby Moritz, --- Benjamin, W. --- Art - Historiography. --- Holz, Detlef, --- Banyaming, --- Benʼyamin, Varutā, --- Peñcamin̲, Vālṭṭar, --- Binyamin, Ṿalṭer, --- בנימין, ולטר --- בנימין, ולטר, --- ולטר, בנימין, --- Penyamin, Palt'ŏ, --- 벤야민 발터,
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Sie stand anderen zur Seite und wußte sie zu inspirieren. It is clear that Ernst H. Gombrich saw Gertrud Bing (1892-1964) as the muse in the circle of scholars around Aby M. Warburg (1866-1929). Others have compared her to the figure of the nymph, which was essential to Warburg’s thought. Indeed, with Warburg’s fascination for the ninfa fiorentina, a picturing of ‘the feminine’ enters into the centre of his thinking. However, Warburg almost never voiced opinions about the role of gender in the structure of society. Nor does it seem that he actually admitted women to his intellectual universe. Gertrud Bing, it turns out, was the rare exception. Who was Gertrud Bing and what was her personal contribution to Warburg’s scientific project? This essay intends to map the agency of Gertrud Bing, in a way that she herself would have probably preferred. According to her, the ideal biography ought to merge the personal with the intellectual, since, what one experiences as a human being will also find its way into the academic oeuvre one leaves behind.
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