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The Hamburg banker's son Aby Warburg (1866-1929) was one of the
most influential art historians and cultural theorists of the 20th
century. His life's work was devoted to tracing antique formulas of
representation in the depiction of human passions in Renaissance
art. For this epoch-spanning relationship, he developed the term
'pathos formula' (Pathosformel). In a lecture given in 1905 in the
Konzerthaus in Hamburg, focusing on the young Albrecht Durer's
Death of Orpheus, Warburg outlined his thoughts in front of the
original drawing, which he had borrowed from the rich holdings of
the Kunsthalle in order to better illustrate his idea. This
drawing, pivotal in the young artist's development as an ambitious
response to classical antiquity, was displayed during the lecture
alongside a group of engravings and woodcuts which included not
only some of Durer's own seminal later prints, such as Melencolia
I, but also engravings by Andrea Mantegna which Durer copied in
1494, the same year he drew the Death of Orpheus. Warburg's 'pop-up
exhibition' of eleven works has here been reconstructed and
analyzed, using his fascinating lecture notes, sketches and slide
lists. First developed by the Hamburger Kunsthalle in 2011,
subsequently on view in Cologne in the Wallraf-Richartz Museum and
now at The Courtauld Gallery, each institution has interpreted the
material slightly differently, while retaining the core Warburg
group. Aby Warburg aimed at unlocking the meaning of an art work by
excavating its roots in its cultural context. By restaging his
legendary display of 1905 with Durer's Death of Orpheus at its
heart, the exhibition and accompanying book present some of the
most skillful and ambitious works on paper ever produced and also
seek to introduce into Warburg's rich intellectual universe to a
broader public, hoping thereby to offer both sheer enjoyment and
food for thought.
Transnational artistic creation has become a matter of course in
our globalized world. But what did migrant art production look like
in the GDR? The volume highlights, among other things, the cultural
diplomacy of the GDR and its effects, employment relationships of
contract workers and taboo racism. Foreign artists from the
socialist brother countries such as Egypt, Ethiopia, Israel or
Uruguay studied at the art academies of the GDR. What became of
them and why they are not mentioned in retrospectives on GDR art?
Their works are now the center of attention. At the same time, the
history of immigration and the memory of reunification are told
from the perspective of East German migrants.
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