Aby Warburg, Il metodo della scienza della cultura [1927]

The contribution presents a new German edition with an Italian translation by Seminario Mnemosyne of the draft by Aby Warburg [WIA 99.5=113.6 and 113.4.1] devoted to the research method for the science of culture, and used for the conclusive meeting of the Winter Seminar organized in 1927-1929 by the Kulturwissenschaftliche Bibliothek Warburg

Metamorfosi delle virt\uf9 d'Amore nella Firenze medicea. Una lettura della tavola 39 dell'Atlante Mnemosyne

Plate 39 of Mnemosyne Atlas is focused on the figure of Venus and her Triumphs as well as on the daemon of Eros, the winged genius of Love. The plate focuses on the so-called Botticelli's mythological cycle \u2013 The Birth of Venus, Primavera, Pallas and Centaur: the central theme is closely related, from the historical standpoint, to the Medici's patronage, to the philosophy of Marsilio Ficino, and to the relationship of love and death between Giuliano de Medici and the "nymph" Simonetta. The reading of the plate describes how in the same cultural context an ideal style "all'antica" was born and how it appears via the \u201cwind-blown garment\u201d of the moving figures in the scenes of metamorphosis and passional abductions. The subject of metamorphosis leads to a cronological and geographic shift, from the Florence of the Medici to further cultural contexts. The theme of the power of Love is intertwined with that of Art as ways to achieve immortality: both erotic and poetic mania can be considered media for the Neoplatonic reunion between man, as a lover and as an artist, and the Divine

The Angel and the Head-huntress. A Reading of Plate 47 of the Mnemosyne Atlas

This reading of table 47 of the Atlas Mnemosyne is illustrated through thematic and plastic paths. The thematic analysis cuts the panel into two vertical sections, divided into homogeneous subgroups. On the left hand side, figures from the New and the Old Testament stage episodes of protection (a young Jesus returning from the Temple; Tobias saved by the Angel). On the right hand side, we recognize figures from the Old Testament, protagonists of violent acts of aggression (Judith, Salome, Samson). In the second phase, the analysis aims to identify some Pathosformeln plastically defined, which cross over the thematic paths: the gesture of protection and care 'taking by hand' (Angel or Mary); the gesture of the guide that shows the way (the Angel); the act of aggression (Judith, Samson); the pace of the ancient nymph which emerges in the graceful movements of the angel, as well as in the seductive stride of a head-huntress (Judith and Salome)

Ernst H. Gombrich, Zur Mnemosyne, Introduzione al Geburtstagsatlas (1937) : Testo originale e traduzione italiana con Note e appunti di lessico

In this page, we present the original German text with a traslation into Italian of Gombrich's Zur Mnemosyne, introduction to the Geburtstagsatlas, curated by Seminario Mnemosyne, which highlights their different ways of thinking, and elements for a first attempt to compare Warburg's methodology with Gombrich's.This translation is the result of a collective work by Seminario Mnemosyne, at Scuola Normale Superiore in Palazzo di Cortona (June 2017), and at the Warburg-Haus in Hamburg (November 2017)

Ernst Gombrich, Geburtstagsatlas f\ufcr Max M. Warburg (5 giugno 1937) : Una prima edizione digitale

In 1937, Ernst Gombrich, who had just joined the Warburgkreis in London, was commissioned to produce a private edition of the Bilderatlas. Geburtstagsatlas f\ufcr Max M. Warburg for the 70th birthday of Aby Warburg' brother. The operation, conceived as a private gift, was probably initiated by Gertrud Bing and Fritz Saxl, or Max himself: the undertaking was intended to satisfy the family\u2019s wishes as they continued to believe that the Mnemosyne project could be published. Preserved in two typewritten copies - one kept in London, the other in Hamburg - the Geburtstagsatlas, was for decades consigned to oblivion and still remains unpublished (see the dedicated page in The Warburg Institute website). Gombrich's modus operandi is very clear: he selects 24 panels (out of the 63 of the latest version of the Bilderatlas of 1929); removes many images from each of the panels; lays out the surviving images on a white background, in a well-balanced and hierarchical order, by modifying original formats and space relations; each of the 24 panels is furnished with a brief but condensed explanation of its main topics. Gombrich introduces his version of the Atlas with a short but charged premise; although a copy of the Einleitung to Mnemosyne to the Bilderatlas written by Warburg in 1929 is available to him, he firmly disassociates himself from it, both formally and conceptually. An analysis of Gombrich's Geburtstagsatlas throws light on the introduction to his theoretical reflections on Warburg that would be included in his seminal publication: Aby Warburg. An Intellectual Biography (London, 1970). Engramma 153 presents: a first digital edition of Gombrich's Geburtstagsatlas, from the collation of the two typewritten copies preserved at The Warburg Institute in London and the Warburg-Haus in Hamburg