The Mnemosyne Atlas.
The Wide-Eyed| N° d'inventaire | 22810 |
| Format | 12 x 18 |
| Détails | 287 p., paperback, visible binding. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9782901968009 |
If Aby Warburg was the first to define a method of iconological interpretation, if he created a library of cultural sciences unique in the world, the decisive innovation that he introduced into the epistemological field of art history is indeed Mnemosyne: an absolutely original and unique work, whose ambition is nothing less than to lay the foundations of a general figurative grammar, and which opens perspectives whose scope has not yet been fully measured. By the complexity of the problems that Warburg confronted with this immense corpus of images, it is the attention of all the human sciences that he drew to his work. Remaining unfinished at the author's death, having mobilized the intellectual and physical energy of his last years, Mnemosyne can be considered the culmination of all his research. It constitutes the most ambitious corpus of images ever assembled, whose genesis and evolution are linked to a discursive practice and a mode of transmission of knowledge that Warburg advocated, but which should also be examined from the angle of its relations with the problem of memory and with his library.
If Aby Warburg was the first to define a method of iconological interpretation, if he created a library of cultural sciences unique in the world, the decisive innovation that he introduced into the epistemological field of art history is indeed Mnemosyne: an absolutely original and unique work, whose ambition is nothing less than to lay the foundations of a general figurative grammar, and which opens perspectives whose scope has not yet been fully measured. By the complexity of the problems that Warburg confronted with this immense corpus of images, it is the attention of all the human sciences that he drew to his work. Remaining unfinished at the author's death, having mobilized the intellectual and physical energy of his last years, Mnemosyne can be considered the culmination of all his research. It constitutes the most ambitious corpus of images ever assembled, whose genesis and evolution are linked to a discursive practice and a mode of transmission of knowledge that Warburg advocated, but which should also be examined from the angle of its relations with the problem of memory and with his library.