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Nymph. Motif, Phantom, Affect. Part II: Aby Warburg's (1866-1929) Butterflies as Art Historical Paradigms
Paperback
Series: Studies in Iconology, Book 4
Art HistoryEuropean ArtGeneral Art
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ISBN10: 904293347X
ISBN13: 9789042933477
Publisher: Peeters
Published: Oct 5 2016
Pages: 115
Weight: 0.70
Height: 0.50 Width: 6.50 Depth: 9.40
Language: English
ISBN13: 9789042933477
Publisher: Peeters
Published: Oct 5 2016
Pages: 115
Weight: 0.70
Height: 0.50 Width: 6.50 Depth: 9.40
Language: English
This essay, a meditation on the butterfly and its resonance in arthistory, is organized in three parts. I begin with Aby Warburg'sfascination with moths and butterflies as documented by (1) his lettersto André Jolles (e.g. the letter from 1900 known as 'But such high-flownmovements are not for me'), (2) the Kreuzlingen pathological report andarchives by Ludwig Binswanger (1881-1966) preserved in Tübingen, and (3)the Ninfa fiorentina file in the Warburg Institute. As Seelentierchen- soul animals, psychè - butterflies are archetypicallyconnected to deep cultural affects regarding the soul, resurrection andimmortality. Part 2 of the paper considers the butterfly as paradigm forthe visual medium and the oculocentric paradigms in art history. Indeed, the butterfly has a specific visual (and sensory) impact on humankindwith its flashy, quick, vibrant and hypnotic wings, its medusian eyesand its capability to camouflage itself (cf. 'Sciences diagonales' byRoger Caillois (1913-1978)). Hypnosis, Medusa and camouflage are threeimportant paradigms with which to consider the essence of the image as adis/appearing, enchanting, and deceiving medium. In Part 3, the threeparadigms become the basis for new reflections about art history (andthe history of art history) as a study of the butterfly, in short, as'lepidopterology'.
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