and even closer to the old family home where Warburg had grown up. Spundflasche of ‘Hamburg 13, Milchstrasse 4’, just over a mile away from the K.B.W. The 1933 Hamburg telephon book confirms that this was the carpenter ( Tischlermeister) J. On Warburg had a discussion with the maker of these wooden boards, ‘Spundflasche junior’, and agreed with him that future panels would cost only 18, and no longer 21 Marks. On, 53 panels were recorded with 979 images.įig 3 Aby Warburg, Mnemosyne Picture Atlas, Second Series, panel 45, August/September 1928. diary with its entries, mainly by Warburg and Bing, makes this very clear: on Warburg mentions 39 panels, with another 6 on order, on he records that 670 images were on display on 40 panels, not including those relating to the figure of Perseus, and he gives the overall number of images as c. However, as discussed by Claudia Wedepohl in her article, there is clear evidence that Warburg had as many boards or ‘Gestelle’ as his Atlas had panels. This has led some, including myself, to assume that there were never more than 6 or 10 panels up at any one time. They were never photographed other than individually, though some shots show several of them standing in front of each other. 1.5m tall and 1.2m wide, assembled with a future publication in mind and therefore in an upright format. The atlas panels in contrast were free-standing ones, c.
These were coherent exhibitions, staged on removable horizontal panels that formed part and parcel of the library’s furniture. Ohrt and Heil rightly separate the atlas panels from the Image Sequences or Exhibitions, Warburg displayed in the K.B.W. I am doing this not least to counter some misconceptions of the original presentation of the atlas in the Kulturwissenschaftliche Bibliothek Warburg (K.B.W.).įig 2 Aby Warburg, Mnemosyne Picture Atlas, First Series, panel 40, May 1928. The present blog revisits these issues with a tight focus on the questions ‘What did the original atlas in Hamburg consist of?’ and ‘How many times was it photographed?’ While I propose a different answer to the second question than the above mentioned authors, with regard to the first one, my aim is rather to present in greater detail the basic facts. Much of this history has been discussed by Claudia Wedepohl and the curators of the recent Mnemosyne atlas exhibition, Roberto Ohrt and Axel Heil, in their monumental publication Aby Warburg: Bilderatlas Mnemosyne – The Original. In contrast, this blog concentrates exclusively on aspects of its material history and the photographic campaigns that guaranteed the survival of the various stages, or ‘series’ of the Atlas. Most discussions of Aby Warburg’s picture atlas understandably focus on issues of iconography and iconology. Fig 1 Aby Warburg, Ovid Exhibition, Reading Room of the K.B.W.
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