Aby Warburg and the moving image.
Macula| N° d'inventaire | 25412 |
| Format | 16 x 24 |
| Détails | 372 p., black and white illustrations, paperback. |
| Publication | Paris, 2012 |
| Etat | Nine |
| ISBN | 9782865890576 |
Founder of the iconological discipline, creator of the prestigious institute that bears his name, Aby Warburg (1866-1929) counted among his disciples the most famous art historians of the century: Panofsky, Wind, Saxl...
But these heirs have, for the most part, preferred to develop a "restricted iconology" based on the deciphering and interpretation of symbols - where Warburg, nourished by Nietzsche and Burckhardt, intended to assume the risks of a "critical iconology".
Writing the history of art is not only about confronting heterogeneous objects, but also about identifying in the work itself the lines of fracture, the tensions, the contradictions, the energies at work: the painting is the suspension of incommensurable factors.
At the same time, Warburg reverses Winckelmann's interpretation (who sought in Greek art "noble simplicity and serene grandeur") and substitutes for it as the true source of the Renaissance the Dionysian impulse, the expression of movement, dance, and trance personified by the disheveled nymph, the ecstatic and convulsed maenad. With Warburg, art history no longer operates at the confines of anthropology: it is a category of it. Philippe-Alain Michaud extends Warburg's intuitions by introducing into his analysis the daguerreotype, Marey's experiments, primitive cinema, and the dance of Loïe Fuller, all practices that surface in Warburg's interpretation of images and shed light on their singularity.
Philippe Alain Michaud is curator in charge of the film collection at the Musée national d'art moderne Centre Georges-Pompidou.
Founder of the iconological discipline, creator of the prestigious institute that bears his name, Aby Warburg (1866-1929) counted among his disciples the most famous art historians of the century: Panofsky, Wind, Saxl...
But these heirs have, for the most part, preferred to develop a "restricted iconology" based on the deciphering and interpretation of symbols - where Warburg, nourished by Nietzsche and Burckhardt, intended to assume the risks of a "critical iconology".
Writing the history of art is not only about confronting heterogeneous objects, but also about identifying in the work itself the lines of fracture, the tensions, the contradictions, the energies at work: the painting is the suspension of incommensurable factors.
At the same time, Warburg reverses Winckelmann's interpretation (who sought in Greek art "noble simplicity and serene grandeur") and substitutes for it as the true source of the Renaissance the Dionysian impulse, the expression of movement, dance, and trance personified by the disheveled nymph, the ecstatic and convulsed maenad. With Warburg, art history no longer operates at the confines of anthropology: it is a category of it. Philippe-Alain Michaud extends Warburg's intuitions by introducing into his analysis the daguerreotype, Marey's experiments, primitive cinema, and the dance of Loïe Fuller, all practices that surface in Warburg's interpretation of images and shed light on their singularity.
Philippe Alain Michaud is curator in charge of the film collection at the Musée national d'art moderne Centre Georges-Pompidou.