Dürer and Warburg: Interpreting Antiquity took place on 22 and 23 November 2013 at the Courtauld and the Warburg Institutes
If Aby Warburg was obsessed with the unexpected eruption of ancient forms of extreme expression in Renaissance art and beyond, Christopher Wood is obsessed with the way in which such methodological innovations could prompt the recognition of the complex temporality of the work of art (see Anachronic Renaissance, 2010, co-authored with Alexander Nagel). In the keynote lecture delivered last Friday at the Warburg Institute, Wood paid his homage to Warburg in focusing on Dürer’s drawing The Death of Orpheus (1494).
Wood developed his argument around the concept of PATHOS and how in some cases, like sodomy, “passions” can be crimes, or for renaissance humanists, educational practices. He proposed the term “wobble” to refer to the horizontal recombination, or to the continuous mythic substitutions happening within certain formulas, in order to overcome the polarities of artistic analysis – for instance, Apollonian and Dionysian. Instability in formulas of passions proves more productive than fixed meaning.
On Saturday, Marcus Hurttig reconstructed the history of that lecture and its parallel display, highlighting the difficult relationship between Warburg and Alfred Lichtwark, the first director of the Hamburger Kunsthalle. Most importantly, Hurttig’s paper compared the small display of originals organised for the conference to the bigger exhibition of about one hundred fac-similes plates that Warburg had assembled that same year at the Volksheim in Hamburg (this story was reconstructed in 2011 by Hurttig in an exhibition at the Hamburger Kunsthalle about Warburg’s previously unknown activity as a curator).
Thomas Schauerte’s close reading of two woodcuts from around 1494 (Ercules and The knight and the Lansquenet) was very traditional in its method, but it successfully posed the question of the use of contemporary sources in Dürer’s early years; Porras’ paper on The Death of Orpheus focused on the inscriptions and on technique, providing a reading of the social context of production of , and on the artist’s ambitions.
The biological and neurological foundations of Warburg’s pathosformel were the basis of David Freedberg’s lecture. Experiments on the mirror system, whose function in aiding perception is subject to speculation, shows for Freedberg the empirical and scientific basis of Warburg’s Pathosformel. When the viewer lays his eyes upon the depiction of an upraised arm, a bended knee or an open palm, his brain begins the process of enacting these gestures. Once self-awareness intrudes and the viewer realizes that they do not need to make these gestures themselves, then we are opened up to the opportunity for self-reflection and aesthetic judgment. By extension, Dr. Freeberg’s research helps us to appreciate the timeless and universal claims of Warburg’s analysis of the function of gestures for, by virtue of scientific evidence, such empathetical and neurological reactions to art are a part of our intrinsic, internal wiring.
Philipp Ekardt provided a survey of art historical reactions to the story of the discovery of the Laocoon statue in 1506, and then offered a succinct introduction to the methodological subtleties that distinguish Warburg’s analysis of this famous statuary masterpiece. In particular, he highlighted pathosformel‘s methdological capacity to focus on individual passages within the work of art, free from the context of the work overall.
As the first scholar to catalogue Panofsky’s personal correspondence, Dieter Wuttke has had unique access to his thoughts and hopes; he provided an intimate and sentimental portrait of the relationship between Panofsky and Warburg. It was thus a remarkable opportunity to hear his retelling of the collegiality, if not friendship, between Panofsky and Warburg. As the speaker pointed out, this relationship may come to us as a surprise given the fundamental differences between the corresponding methodologies and bodies of work of these two giants. Nevertheless, the first-hand accounts that Wuttke cited cannot deny the degree of interaction between them, ranging from their first visit in 1915 when Panofsky and a group of students went to on a field-trip to visit Warburg, to their life-long correspondence and many evenings spent in discussion, to Panofsky’s election as director of the Warburg Institute.
Conceived by Courtauld curator Stephanie Buck and Warburg’s archivist Claudia Wedepohl as a contemporary parallel to the lecture delivered by Aby Warburg in Hamburg on 5 October 1905 and titled ‘Dürer and Italian Antiquity’ (Dürer und die italienische Antike), this conference was also a complement to the Courtauld’s current exhibition The Young Dürer: Drawing the Figure and especially to its smaller sister-display Antiquity Unleashed: Aby Warburg, Dürer and Mantegna. In the latter, visitors can see the same original works Aby Warburg had borrowed from the Hamburger Kunsthalle to illustrate the argument of his lecture more than one hundred years ago.