Aby Warburg

Also found in: Dictionary, Wikipedia.
Related to Aby Warburg: Mnemosyne, Erwin Panofsky
Graphic Thesaurus  🔍
Display ON
Animation ON
  • noun

Synonyms for Aby Warburg

German art historian (1866-1929)

References in periodicals archive ?
On his 13th birthday, Aby Warburg offers his younger brother, Max, his birthright.
In the foreword to the English translation of Philippe-Alain Michaud's Aby Warburg and the Image in Motion, Georges Didi-Huberman stresses that this is "the first book on Warburg to be written in French" (7), which is important because art historians such as Henri Focillon and Andre Chastel, who determined the scope of French art history in the last few decades, had neglected Warburg's theories.
In a publication dealing with the classical motif of the Nymph and the idea of the life of images, Giorgio Agamben points to the potential similarities in intellectual vocation shared by Aby Warburg and Giordano Bruno.
Mythistory illustrates historiography accordingly from Livy to Machiavelli, Vico and Michelet to Burckhardt, Aby Warburg, Kantorowicz and--with his 'attempt to retain the image of history even in the most inconspicuous corners'--Walter Benjamin.
Aby Warburg (1866-1929) was the scion of a distinguished Hamburg-based banking family, whose extensive history has been lovingly told by Ron Chernow.
But as "September 11" might indicate, our inclination today is closer to that of Aby Warburg, for whom art was the mnemotcchny of the traumatic.
Finally, there is little mention of art, although Anthony Colantuono's essay on the more recondite details of the works Titian painted for Alfonso I's camerino is a delightful exercise in the sort of place-specific iconography to which another lover of Ferrara, Aby Warburg, made a memorable contribution in his 1912 lecture on the astrological symbolism of the Schifanoia frescoes.
Szonyi finds the key to the connection of semiotics and iconology in the oeuvre of Aby Warburg, who, consequently, also serves as a leitmotif in his narrative.
Aby Warburg (1866-1929) has been celebrated as many things: as a pioneering art historian, an historian of mentalities, an historical anthropologist, a cultural semiotician, a pioneer in the theory and study of collective memory, and as the founder of the Warburg Institute.
Needless to say, the author's connections with the leading lights of the Warburg circle alone would have vouchsafed his standing in twentieth-century humanities studies; in fact Aby Warburg handpicked him to organize the philosophy section of the famed Kulturwissenschaftliche Bibliothek Warburg.
The speakers challenged the misconception that belief in miraculous images was exclusively a medieval phenomenon, as Aby Warburg and Hans Belting had argued so influentially.
Bredekamp also argues that Albert Einstein, in his discussions in the 1920s with Aby Warburg, refused to see the connection between aesthetics and cosmological assertions.
He is quite aware that today such a thesis can hardly be considered a novelty: on the contrary, it begins to have a long history behind it which Ciliberto delineates with undoubted finesse, tracing it back to the "alternative" idea of Renaissance, and previously of late classical culture as deeply imbued with occult and spiritual currents of thought, developed in the 1920s by Aby Warburg and his followers.
Blume revises the approach established in the foundational studies of Aby Warburg, Fritz Saxl, and Erwin Panofsky.