Über Max Weber Stiftung

The Max Weber Foundation promotes global research, concentrated around the areas of social sciences, cultural studies and the humanities. Research is conducted at ten institutes in various countries across the globe with distinctive and independent focal points. Through its globally operating institutes, the Foundation is able to contribute to the communication and networking between Germany and the host countries or regions of its establishments. By promoting scientific dialogue and merging academic as well as non-academic employees from several countries with different cultural backgrounds, the Max Weber Foundation is able to strengthen the Internationalization of research in its three fields of dedication.

Congratulations #16: Hans-Christian Hönes: „Enlivening and – dividing: a aporia of illumination“, Contemporaneity 4.1, 2015, pp. 2-22.

Contemporaneity, volume 4.1

Contemporaneity, volume 4.1

Congratulations to Hans-Christian Hönes on the publication of his article „Enlivening and – dividing: an aproria of illumination“. This article, developed from a 2012 paper presented at the Courtauld Institute, explores eighteenth-century reactions to sculpture as a repository of antiquity. It is available to download here.

Abstract: In 1798, Karl August Böttiger paid a nocturnal visit to the Gallery of Antiques in Dresden, illuminating the statues with a torch. At first glance, this seems to be yet another example of a Weiterlesen

Congratulations #15: Linda Báez Rubí, ‚Vislumbrar y admirar: „La maravilla americana“ en los modelos de visión y procesos icónicos de la cultura jesuítica‘, in: Los estatutos de la imagen: creación, manifestación, percepción, Linda Báez, Emilie Carreón (eds) México, UNAM-IIE, 2015, 67-86.

By unknown (1531 presented by Juan Diego) (Nueva Basílica de Nuestra Señora de Guadalupe) [Public domain], via Wikimedia Commons.

By unknown (1531 presented by Juan Diego) (Nueva Basílica de Nuestra Señora de Guadalupe) [Public domain], via Wikimedia Commons.

Double congratulations to Linda Báez-Rubi on her latest edited volume, produced with Emilie Carreón of the Universidad Nacional Autónoma de México, and her chapter in it. The volume comprises the proceedings of the Universidad Nacional Autónoma de México’s sixteenth International Colloquium on Art History and the full publication is available here. Linda’s chapter discusses the creation of the Virgin of Guadalupe as an American icon through the comibination of religious and scientific learning and Jesuit agency. Weiterlesen

Congratulations #14: Pablo Schneider, ’Bild und Repräsentation. Charles Le Brun – premier peintre du Ludwigs XIV‘, in Ute Jung-Kaiser, Annette Simonis (eds.) Die verzaubernde Kunstwelt Ludwigs XIV. – Versailles als Gesamtkunstwerk, Hildesheim: Olms, 2015, 157-192.

Ver003Congratulations to Pablo Schneider on his latest publication (volume information available here). His chapter describes the work of painter and art theorist Charles Le Brun for Louis XIV.

 

 

 

 

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The Akkadian term ṣalmu: Some remarks on the concept of ‚image‘ in Mesopotamia in the second and first millennia B.C.

Stele of Assurnasirpal II ( Reign: 883-859 B. C.). In: Layard, A. H., Discoveries in the ruins of Nineveh and Babylon; with travels in Armenia, Kurdistan and the desert, London 1853, p. 350.

Stele of Assurnasirpal II ( Reign: 883-859 B. C.). In: Layard, A. H., Discoveries in the ruins of Nineveh and Babylon; with travels in Armenia, Kurdistan and the desert, London 1853, p. 350.

by Babette Schnitzlein

A number of Akkadian written sources mention the term ṣalmu. Akkadian is a Semitic language which is known to have been used from the middle of the third millennium B. C. until the first century of the first millennium A.D. Akkadian was written in a script called cuneiform. Taking a closer look at the texts, in which the term ṣalmu appears, it becomes evident that ṣalmu is not a term for a specific medium, for example a statue or painting. It was used for all kind of images like statues, reliefs, stelae, figurines out of clay, depictions on seals and metal bands. Weiterlesen

Congratulations #13: U. Pfisterer and H.-C. Hönes (eds), 2015, Aby Warburg – Fragmente zur Ausdruckskunde [Fragments on the Theory of Expression], Berlin: Walter de Gruyter

Congratulations to Hans-Christian on the publication of Aby Warburg – Fragmente zur Ausdruckskunde [Fragments on the Theory of Expression]. This edition of Aby Warburg’s early theoretical manuscripts – among others the much discussed texts “Fragmente zur Ausdruckskunde” and “Symbolismus als Umfangsbestimmung“ – provides a dense, highly biographic documentation of his unique way of thinking. The notes, schematic drawings, and diagrams of this young scholar offer unique insight into his working methods. The volume includes key documents from the early phase of Warburg’s thinking and research on his theory of images and symbols between approx. 1888 and 1905. This genetical critical edition makes the different phases of Warburg’s reworking of his texts intelligible for the first time. The introductory essay opens up a highly original new perspective on these processes of notation and (biographical) self-documentation.“

Un viaje desde la memoria interminable

By Linda Báez-Rubí

In this post, Linda Báez-Rubí explores the background to Warburg’s Mnemosyne Atlas and its relationship to psychology and astrology for Warburg, before presenting a possible reading of Panel 79.

Al momento de su fallecimiento, en octubre de 1929, el psico-historiador del arte y la cultura, Aby Warburg (1866-1929), se encontraba trabajando en un proyecto al que le había dedicado especial atención desde 1924: el Atlas de imágenes Mnemosine. La manera en que Warburg organizaba el rico material de imágenes sobre grandes tableros de fondo negro abría la posibilidad de relacionar diversos motivos figurativos entre ellas. El constante ejercicio experimental de cambiar, introducir y suprimir fotografías que mandaba hacer sobre la producción cultural humana, desde pintura, dibujo, escultura, cerámica, numismática hasta imágenes propagandísticas, lo llevó a realizar distintas series que se albergan actualmente en el Archivo del Instituto Warburg en Londres.

De este modo, Warburg, registraba visualmente la historia de la vida de las imágenes en su recorrido tanto geográfico-temporal como en sus vehículos de transporte. La intención del erudito hamburgués de ilustrar dicho proceso, no se reducía meramente a la presentación de material icónico, sino que también tenía pensado acompañarlo con reflexiones teóricas que ofrecieran una explicación sobre la necesidad humana de crear y expresarse mediante las imágenes heredadas por la memoria. Sin embargo, varios de estos textos no se escribieron o quedaron esbozados en fragmentos.

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Congratulations #12: Maria Teresa Costa, ‚Kunstgeschichte als Raumgeschichte. Alois Riegl und die Raumwahrnehmung‘, in A. Beyer, G. Cassegrain (eds.) Mouvement – Bewegung. Über die dynamischen Potenziale der Kunst, Berlin: Deutscher Kunstverlag, 2015, 137-151

Following on from Congratulations #9, to Philipp Ekardt, the volume Mouvement. Bewegung,  edited by group Speaker, Andreas Beyer, with Guillaume Cassegrain also contains a chapter by Bilderfahrzeuge associate, Maria Teresa Costa. Publication details can be found here.

The chapter inserts itself into the present debate on the spatial turn and it proposes locating the time around 1900 as a central moment in the genealogy of the notion of “space”. Weiterlesen

Congratulations #11: Johannes von Müller, ‚Spieglein, Spieglein an der Wand…‘, in R. Kroll, S. Gramatzki, S. Karnatz (eds) Wie Texte und Bilder Zusammenfinden, Berlin: Dietrich Reimer Verlag, 2015, 49-58

Congratulations to Johannes von Müller on the publication of his book chapter, ‚Sieglein, Spieglein an der Wand. Das Frontispiz des Aachener Evangeliers Kaiser Otto III. als ein Beispiel piktoraler Fürstenspiegel‘. Picking up the fairytale theme of Snow White’s famous question, ‚Mirror, mirror on the wall, who is the fairest of them all?‘, the piece examines the relationship of a medieval imperial image to idealised views of medieval rulership and the link between reflection and projection in such images. More information about the volume can be found here.

Gold as Memory Track

The Triumph of Lust (detail), from a seven-piece set of the Seven Deadly Sins, designed by Pieter Coocke van Aelst, ca. 1532-33, woven in Brussels, ca. 1542-44,  wool, silk, gilt-metal-wrapped thread, Patrimonio Nacional, Palacio Real de Madrid, 8 warps per cm

The Triumph of Lust (detail), from a seven-piece set of the Seven Deadly Sins, designed by Pieter Coecke van Aelst, ca. 1532-33, woven in Brussels, ca. 1542-44, wool, silk, gilt-metal-wrapped thread, Patrimonio Nacional, Palacio Real de Madrid, 8 warps per cm

By Isabella Woldt

Gold is one of the most valuable natural materials taken from the earth. From early childhood we learn to consider and recognize it as precious, a sign of economic wealth. But gold is more than just a material whose value is set to economic markets. Gold is a carrier of cultural values; even more, it is a particularly important carrier of cultural knowledge. Both aspects, its material and cultural value, are reasons for the use of gold in the production of art objects, for instance statues, decorative elements in architecture, in paintings, and not least in textile art, especially in the manufacturing of tapestries. Weiterlesen

Position open in the Bilderfahrzeuge group

LogoThe Bilderfahrzeuge Research Project is delighted to announce that it is now accepting applications for a research position within the group. The successful candidate will be based in London at the Warburg Insitute.

Application deadline: July 1, 2015

 

Research post: “Bilderfahrzeuge: Warburg’s Legacy and the Future of
Iconology” – International Research Group

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