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Pathos Formulae
Pathosformel or "pathos formula" (German plural: ''Pathosformeln'') is a term coined by the German art historian and cultural theorist Aby Warburg (1866–1929) in his research on the afterlife of antiquity (''das Nachleben der Antike''). It is described as "the primitive words of passionate gesture language" and the "emotionally charged visual trope ref name=Becker> that recur throughout images in Western Europe. While the term is associated with formalism, Warburg restricts the concept to cultural-psychological themes, as he held "an honest disgust of aestheticizing art history". Despite its name, pathosformel does not provide a calculable formula to identify visual links among images. Instead, it calls on collective and individual imagination to find such links apart from those based on age, type, size, or origin. In historian Kurt Forster's words, "it exerts its control over existing figurations in a way that endows them with new, 'sign-giving' qualities." The art historian Ern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aby Warburg
Aby Moritz Warburg, better known as Aby Warburg, (June 13, 1866 – October 26, 1929) was a German art historian and cultural theorist who founded the Kulturwissenschaftliche Bibliothek Warburg (Library for Cultural Studies), a private library, which was later moved to the Warburg Institute, London. At the heart of his research was the legacy of the classical world, and the transmission of classical representation, in the most varied areas of Western culture through to the Renaissance. Warburg described himself as: "''Amburghese di cuore, ebreo di sangue, d'anima Fiorentino''" ('Hamburger at heart, Jew by blood, Florentine in spirit'). Life Aby Warburg was born in Hamburg into the wealthy Warburg family of German Jewish bankers. His ancestors had come to Germany from Italy in the 17th century and settled in the town of Warburg in Westphalia, taking on the town's name as their family name. In the 18th century the Warburgs moved to Altona near Hamburg. Two brothers Warburg foun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Einfühlung
Empathy is the capacity to understand or feel what another person is experiencing from within their frame of reference, that is, the capacity to place oneself in another's position. Definitions of empathy encompass a broad range of social, cognitive, and emotional processes primarily concerned with understanding others (and others' emotions in particular). Types of empathy include cognitive empathy, emotional (or affective) empathy, somatic empathy, and spiritual empathy.Rothschild, B. (with Rand, M. L.). (2006). ''Help for the Helper: The psychophysiology of compassion fatigue and vicarious trauma''. Etymology The English word ''empathy'' is derived from the Ancient Greek (''empatheia'', meaning "physical affection or passion"). That word derives from (''en'', "in, at") and (''pathos'', "passion" or "suffering"). Theodor Lipps adapted the German aesthetic term ("feeling into") to psychology in 1903, and Edward B. Titchener translated into English as "empathy" in 1909. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jungian Archetypes
Jungian archetypes are a concept from psychology that refers to a universal, inherited idea, pattern of thought, or image that is present in the collective unconscious of all human beings. The psychic counterpart of instinct, archetypes are thought to be the basis of many of the common themes and symbols that appear in stories, myths, and dreams across different cultures and societies. Some examples of archetypes include such as the mother, the child, the trickster, and the flood, among others. The concept of archetypes and the collective unconscious was first proposed by Carl Jung, a Swiss psychiatrist and psychoanalyst. According to Jung, archetypes are innate patterns of thought and behavior that strive for realization within an individual's environment. This process of actualization influences the degree of individuation, or the development of the individual's unique identity. For instance, the presence of a maternal figure who closely matches the child's idealized concept of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Empathy
Empathy is the capacity to understand or feel what another person is experiencing from within their frame of reference, that is, the capacity to place oneself in another's position. Definitions of empathy encompass a broad range of social, cognitive, and emotional processes primarily concerned with understanding others (and others' emotions in particular). Types of empathy include cognitive empathy, emotional (or affective) empathy, somatic empathy, and spiritual empathy.Rothschild, B. (with Rand, M. L.). (2006). ''Help for the Helper: The psychophysiology of compassion fatigue and vicarious trauma''. Etymology The English word ''empathy'' is derived from the Ancient Greek (''empatheia'', meaning "physical affection or passion"). That word derives from (''en'', "in, at") and ('' pathos'', "passion" or "suffering"). Theodor Lipps adapted the German aesthetic term ("feeling into") to psychology in 1903, and Edward B. Titchener translated into English as "empathy" i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Vischer
Robert Vischer (22 February 1847, Tübingen – 25 March 1933, Vienna) was a German philosopher who invented the term ''Einfühlung'' (esthetic sympathy, later translated in English as empathy), which was to be promoted by Theodor Lipps, Freud's admired philosopher. Vischer’s use of ''Einfühlung'' Vischer postulated the as yet undescribed distinction between ''verstehen ''Verstehen'' (, ), in the context of German philosophy and social sciences in general, has been used since the late 19th century – in English as in German – with the particular sense of the "interpretive or participatory" examination of socia ...'' and ''Einfühlung'' (“empathy”) in his 1873 doctoral thesis ''On the Optical Sense of Form: A Contribution to Aesthetics''. It was the first mention of the word ''Einfühlung'' in this form in print. His more-famous father, Friedrich Theodor Vischer, had used the term ''Einfühlen'' in explorations of Idealism relative to architectural form, and related co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Apocalypse (Dürer)
The ''Apocalypse'', properly ''Apocalypse with Pictures'' ( la, Apocalipsis cum figuris), is a series of fifteen woodcuts by Albrecht Dürer published in 1498 depicting various scenes from the Book of Revelation, which rapidly brought him fame across Europe. These woodcuts likely drew on theological advice, particularly from Johannes Pirckheimer, the father of Dürer's friend Willibald Pirckheimer. Work on the series started during Dürer's first trip to Italy (1494–95), and the set was published simultaneously as a book with 15 pages of biblical text facing the 15 illustrations. in Latin and German at Nuremberg in 1498, at a time when much of secular Europe feared an invasion of the Ottoman Empire and Christian Europe anticipated a possible Last Judgment in the year 1500. Dürer was the publisher and seller of this series, and became the first artist to publish a book and create a copyright. Considering the 15 woodcuts, '' The Four Horsemen of the Apocalypse'' (c. 1497 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Andrea Mantegna
Andrea Mantegna (, , ; September 13, 1506) was an Italian painter, a student of Roman archeology, and son-in-law of Jacopo Bellini. Like other artists of the time, Mantegna experimented with perspective, e.g. by lowering the horizon in order to create a sense of greater monumentality. His flinty, metallic landscapes and somewhat stony figures give evidence of a fundamentally sculptural approach to painting. He also led a workshop that was the leading producer of prints in Venice before 1500. Biography Youth and education Mantegna was born in Isola di Carturo, Venetian Republic close to Padua (now Italy), second son of a carpenter, Biagio. At the age of 11, he became the apprentice of Paduan painter Francesco Squarcione. Squarcione, whose original profession was tailoring, appears to have had a remarkable enthusiasm for ancient art, and a faculty for acting. Like his famous compatriot Petrarca, Squarcione was an ancient Rome enthusiast: he traveled in Italy, and perhaps a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Formalism (art)
In art history, formalism is the study of art by analyzing and comparing form and style. Its discussion also includes the way objects are made and their purely visual or material aspects. In painting, formalism emphasizes compositional elements such as color, line, shape, texture, and other perceptual aspects rather than content, meaning, or the historical and social context. At its extreme, formalism in art history posits that everything necessary to comprehending a work of art is contained within the work of art. The context of the work, including the reason for its creation, the historical background, and the life of the artist, that is, its conceptual aspect is considered to be external to the artistic medium itself, and therefore of secondary importance. History The historical origin of the modern form of the question of aesthetic formalism is usually dated to Immanuel Kant and the writing of his third Critique where Kant states: "Every form of the objects of sense is either ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Primavera (painting)
''Primavera'' (, meaning "Spring"), is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art". The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as ''Primavera'' by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550. Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Birth Of Venus
''The Birth of Venus'' ( it, Nascita di Venere ) is a painting by the Italian artist Sandro Botticelli, probably executed in the mid 1480s. It depicts the goddess Venus arriving at the shore after her birth, when she had emerged from the sea fully-grown (called Venus Anadyomene and often depicted in art). The painting is in the Uffizi Gallery in Florence, Italy. Although the two are not a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, the '' Primavera'', also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the ''Birth'' is better known than the ''Primavera''. As depictions of subjects from classical mythology on a very large scale they were virtually unprecedented in Western art since classical antiquity, as was the size and prominence of a nude female figure in the ''Birth''. It used to be thought that they were both commissioned by the same member o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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