Table Of ContentSTUDIEN AUS DEM WARBURG-HAUS, BAND 16
Herausgegeben von
Uwe Fleckner
Margit Kern
Birgit Recki
Bruno Reudenbach
Cornelia Zumbusch
REIHE „KUNST UND WIRKMACHT / ART AND AGENCY“
Herausgegeben von
Caroline van Eck
Uwe Fleckner
Table of Contents
Title Page
ACKNOWLEDGEMENTS
INTRODUCTION
RHETORIC
AGENCY
EXPERIENCE AND MEMORY
THE ANIMATED IMAGE: A GROWING FIELD
THE STRUCTURE OF THIS BOOK
PART ONE
ENARGEIA
ENARGEIA, EKPHRASIS AND PHANTASIA
PHANTASIA
PHANTASIA, MEMORY AND LIVING PRESENCE
RESPONSE
THE EARLY MODERN AFTERLIFE OF EKPHRASTIC
ENARGEIA
CONCLUSION
AGENCY
ART AND AGENCY
THE EXPERIENCE OF LIVING PRESENCE
LIVING PRESENCE AS AGENCY AND EXPERIENCE
ANIMACY
‘LAOCOON I AM’
BELLINI’S BRERA PIETÀ
BERNINI’S MEDUSA
MEMORY
SIMULACRA IN THE CHAMBERS OF MEMORY
PERCEPTION, MEMORY AND EMOTION
MEMORY IS NOT AN ART GALLERY, BUT A SERAGLIO
EKPHRASIS AS IMAGINATIVE RECOLLECTION AND
RECREATION
CONCLUSION
PART TWO
IDOLATRY
FRANÇOIS LEMÉE ON THE MONUMENT OF LOUIS XIV
AT THE PLACE DES VICTOIRES
A NEW WAY OF CONSIDERING IDOLATRY
THE LIVING PRESENCE OF STATUES: A QUESTION OF
ENARGEIAOR OF THE SITTER’S STATUS?
LIVING PRESENCE AND IDOLATRY
HOW TO CONTROL THE UNDESIRABLE AGENCY OF
IMAGES
CONCLUSION
FETISHISM
PERSUASIVE FIGURATION AS THE FOUNDATION OF
IDOLATRY
FETISHISM
‘LES RAPPORTS INTIMES DES STATUES AVEC LA
SOCIÉTÉ’
‘LE MINISTRE LE PLUS DOCILE DES VOLONTÉS DE LA
RELIGION’
CONCLUSION
AESTHETIC AMBIVALENCE
PYGMALION’S DREAM
PETRIFYING STATUE LOVERS
GOETHE’S GALLERY OF ART LOVERS
ART FETISHISM
KANT’S EPISTEMOLOGICAL BARRIER AGAINST
FETISHISM
CONCLUSION
PLATES
PART THREE
FRAMING, STAGING AND ACTING LIVING PRESENCE
LIVING PRESENCE AND A VISUAL HISTORY OF ART
SANTA MARIA DEL PRIORATO: ANACHRONISM EMBODIED
‘KILLING ART TO WRITE ITS HISTORY’
‘GLORIOUS VISIONS OF THE PAST’
‘THE PRESENCE OF REALITY INSTEAD OF ITS
APPEARANCE PRODUCED A FEARFUL SENSATION’
CONCLUSION
THE AFTERLIFE OF ART
ABY WARBURG ON THE LIVES OF ART WORKS
PATHOSFORMEL AND NACHLEBEN
THE LIFE OF ART AS AN ARTISTIC ISSUE
THE AGENCY OF LIFELIKENESS
MNEMOSYNE: NACHLEBEN AS AN ISSUE IN ART HISTORY
REPRESENTATION
MNEMOSYNE, NACHLEBEN, AND HISTORICAL
EXPERIENCE
CONCLUSION
EPILOGUE - FROM THE ANIMATED IMAGE TO THE EXCESSIVE
OBJECT
‘THE APPEARANCE OF THE SOUL’
CHANGING APPRECIATIONS OF VIEWERS
ATTRIBUTING LIFE TO ART
AN ANTHROPOLOGICAL TURN
EXCESSIVE AND TRANSITIONAL OBJECTS
HOMO ANIMANS AND HOMO REPRAESENTANS
NOTES
BIBLIOGRAPHY
PRIMARY SOURCES
SECUNDARY SOURCES
LIST OF ILLUSTRATIONS
Introduction
Chapter One
Chapter Two
Chapter Four
Chapter Five
Chapter Six
Chapter Seven
Chapter Eight
Epilogue
INDEX
Copyright Page
ACKNOWLEDGEMENTS
This book is one of the results of the Art, Agency and Living
Presence project that was hosted by the Leiden University
Centre for the Arts in Society (LUCAS) and its predecessors at
the Humanities Faculty of Leiden University from 2006 to 2011.
It was funded very generously by the Dutch Foundation for
Scientific Research (NWO). I want to thank NWO, and the
anonymous reviewers who judged the grant appplication, for
their suppport. Without it, this project, and the line of research
that was developed in it, could never have taken place. I also
want to thank Groningen University, and particularly Auke van
der Woud, for their support in earlier stages of the project,
which were equally vital to its coming into being. At Leiden
University Ton van Haaften, at the time Dean of the Humanities
Faculty, Reindert Falkenburg and Kitty Zijlmans persuaded me to
join the Department of Art History, and I have never regretted
that decision. Indeed, the Art and Agency project found an ideal
intellectual atmosphere in the typically Leiden atmosphere of
intense collaboration between art historians, classicists,
historians, literary scholars, archaeologists and anthropologists.
The other members of the project, Stijn Bussels, Lex Hermans,
Joris van Gastel, Elsje van Kessel and Minou Schraven, were
ideal sparring partners, but above all they became very dear
friends. I thank them all for their sharp thinking, generous
contributions and great sense of humor. Our guests at the
expert meetings we organized at the Netherlands Institute for
Advanced Studies in Wassenaar were very generous with their
time and expertise: Jeremy Tanner, Robert Layton, Maarten
Delbeke, Jürgen Pieters, Karl Enenkel, Frank Fehrenbach,
Christine Goettler, Malcolm Baker, Arthur DiFuria, Jeanette Kohl,
Arno Witte and Joanna Woodall.
Several conferences that we organized in the course of the
project also contributed to this book: the sessions we hosted at
the Renaissance Society Meeting in Venice in 2010; the
conference ‘Waking the Dead. The Poetics of Presence in the
Wake of the French Revolution’, held at the Académie de France
at the Villa Medicis in Rome in 2011, organized together with
Sigrid de Jong, Stijn Bussels and Bram Van Oostveldt; and the
concluding conference of the Art and Agency project held in
Leiden in 2011. I wish to thank Marc Bayard, Annick Lemoine
and Angela Stahl at the Villa for their generosity and exquisite
hospitality.
While writing this book I benefited from many conversations
with friends and colleagues: Pamela Edwardes, as always a
wonderful editor, critic and listener, who pointed me in the way
of Alfred Gell; Maarten Delbeke, who drew my attention to
Sforza Pallavicino and thus unwittingly provided the clue
towards a major step in the argument of this book; Pascal
Griener, who very kindly did not point out he had already,
twenty years ago, covered in much greater depth many of the
th
ideas on 18 -century viewing practices that I discussed with
him; Odile Nouvel suggested towards an entirely new way of
thinking about fetishism. Frank Ankersmit, Jas Elsner, Patricia
Falguières, Jason Gaiger, Daniela Gallo, Edward Grasman, Sigrid
de Jong, Anna Knaap, Alina Payne, Bettina Reitz, Frits Scholten,
Philippe Sénéchal, Louk Tilanus, Bram van Oostveldt, Chris
Wood, and Hendrik Ziegler all gave generously of their time and
learning.
Whereas Alfred Gell was the tutelary deity of the first part of
the Art and Agency project, Aby Warburg took over that role for
the second part. The Warburg-Haus in Hamburg invited Elsje
van Kessel, Joris van Gastel and me to speak at one of their
graduate student conferences, and there a wonderful
collobaration began, which resulted in the series Kunst und
Wirkmacht/Art and Agency, in which the books resulting from
our project are published in a collaboration with Akademie
Verlag (now De Gruyter) and Leiden University Press. I want to
thank Uwe Fleckner, Director of the Warburg-Haus, Heiko
Hartmann at Akademie Verlag, and Yvonne Twisk at Leiden
University Press for their enthousiasm and great efficiency in
putting this idea into reality. I also want to thank the present
staff of these publishers, Anniek Meinders in Leiden, and Martin
Steinbrück and Verena Bestle in Berlin and Munich, for the great
care with which they have published this book. Frederik Knegtel
and Marit Eisses offered vital assistance in the final stages of
editing and finding images.
But as often, the greatest debt is the most difficult to put into
words. I want to thank Hende Bauer for telling me take the
plunge into the deep waters of the life of art. Without one short
conversation in the Prado, the intellectual adventure of which
this book is one of the results would never have taken off.
