Warburg, Deleuze, and the Rhizome Alexandra Charmaine Ortiz Submitted in Partial Fulfillments of ...

118 Pages·2012·10.33 MB·English

Mapping Cultural Paths: Warburg, Deleuze, and the Rhizome
Alexandra Charmaine Ortiz

Submitted in Partial Fulfillments of the Requirements
For the Degree of Master of Arts in Art History
at
Savannah College of Art and Design

© August 2012, Alexandra Charmaine Ortiz

The author hereby grants SCAD permission to reproduce and to distribute publicly paper and
electronic thesis copies of document in whole or in part in any medium now known or hereafter
created.

Signature of Author and Date________________________________________________

_________________________________________________________/___/__________
Christoph Klütsch, Ph. D. (Sign here) (Date Here)
Committee Chair

________________________________________________________/___/__________
Jonathan Field, Ph. D. (Sign here) (Date Here)
Committee Member

_______________________________________________________/___/__________
Stephen Wagner, Ph. D. (Sign here) (Date Here)
Committee Member
Mapping Cultural Paths: Warburg, Deleuze, and the Rhizome

A Thesis Submitted to the Faculty of the Art History Department
in Partial Fulfillment of the Requirements for the
Degree of Master of Arts in Art History
Savannah College of Art and Design

By

Alexandra Charmaine Ortiz

Savannah, GA

August 2012
DEDICATION

This thesis is dedicated to my mother, Ann Ortiz.
Thank you for your unfailing support and kind words throughout my entire life.
I love you.
ACKNOWLEDGEMENTS

I would like to thank my thesis committee for their expert advice and guidance.
Special thanks to Dr. Klütsch for helping me to fully realize my topic and continuing to work
with me.
Special thanks also to Dr. Wagner for his patience and continued support.
TABLE OF CONTENTS

List of Figures …………………………………………………………………………………...1

Abstract ...……………………………………………………………………………..…………6

Introduction …………………………………………………………….……………………….7

Tracing a Path to Mapping Paths: The Nymph and Atlas Plate 39 .…………………………...12
Maps and Rhizomes ……………………………………………………………………………21
Warburg’s Library: Lines of Flight and Plateaus …………………………………………...…25
Warburg’s Mnemosyne Atlas: Lines of Flight and Plateaus ………………………………...…36
Two Projects One Model: The Rhizome ………………………………………………………44
Conclusion …………………………………………………………………………………..…54
Figures ……….…………………………………………………………………………………56

Bibliography ………………………………………………………………………………..…111
FIGURES

Fig. 1: Aby Warburg, unknown photographer, 1900, from http://warburg.sas.ac.uk.
Fig. 2a: Palazzo Schifanoia Frescos, Ferrara, Italy, 1470, from Aby Warburg’s
“Italian Art and International Astrology in the Palazzo Schifanoia,” in Aby Warburg: The
Renewal of Pagan Antiquity, 575.

Fig. 2b: Aby Warburg, Palazzo Schifanoia retranslated into Atlas Plate 27, 1924-1929,
from Martin Warnke’s Der Bilderatlas Mnemosyne (Spanish translation), 47.

Fig. 3a: Tree of Life, from Ernst Haeckel’s General Morphology of organisms (1866), in
Manuel Lima’s Visual Complexity: Mapping Patterns of Information, 68.

Fig. 3b: Rhizome diagram from Manuel Lima’s Visual Complexity: Mapping Patterns of
Information, 45.

Fig. 3c: Rhizome diagram from Manuel Lima’s Visual Complexity: Mapping Patterns of
Information, 55.

Fig. 4a: Rhizome diagram from Manuel Lima’s Visual Complexity: Mapping Patterns of
Information, 70.

Fig. 4b: Alfred Barr, Cubism and Abstract Art (NY, 1936) book jacket.

Fig. 4c: Daniel Feral, Graffiti and Street Art, from “Street Art and Graffiti Gets a Barr
Chart,” C-Monster.Net, 2011, http://c-monster.net/blog1/2011/03/30/graffiti-
barr chart/,(12 Aug. 2012).

Fig. 5a: Scene from the Third Intermedio of 1589, from Aby Warburg’s “Theatrical
Costumes for the Intermedi of 1589,” in Aby Warburg: The Renewal of Pagan
Antiquity, 373.

Fig. 5b: Aby Warburg, Dance at Oraibi, May 1896, from Photographs at the Frontier:
Aby Warburg in America (1895-1896), 133.

Fig. 5c: Aby Warburg, Hand-drawn diagrams of theatrical Native American masks with
the Second Intermezzo, from Photographs at the Frontier: Aby Warburg in
America (1895-1896), 58.

Fig. 6: Image pairings depicting Warburg’s broadening interests in a collective human
culture through cross-culture parallels, from Aby Warburg and the Image in
Motion, 241.
1
Fig. 7: Sandro Botticelli, Birth of Venus, 1485, oil on canvas, and Primavera, 1482, oil
on canvas, from E. H. Gombrich’s, Aby Warburg: An Intellectual Biography, PL. 5.

Fig. 8a: Warburg’s examination of pathos formulae within Botticelli’s Work, from
Gertrud Bing article “A. M. Warburg”, unnumbered.

Fig. 8b: Warburg’s examination of pathos formulae, from E. H. Gombrich’s, Aby
Warburg: An Intellectual Biography, PL. 6.

Fig. 8c: Niccolo Fiorentino, Medals for Giovanna Tornabuoni, from Aby Warburg’s
“Sandro Botticelli’s Birth of Venus and Spring,” in Aby Warburg: The Renewal
of Pagan Antiquity, 116.

Fig. 8d: Botticelli’s classical Greek influence, from Aby Warburg’s “Sandro Botticelli’s
Birth of Venus and Spring,” in Aby Warburg: The Renewal of Pagan Antiquity,
127.

Fig. 8e: Warburg’s, “Sandro Botticelli,” in Aby Warburg: The Renewal of Pagan Antiquity,
160.

Fig. 9: Aby Warburg, Atlas Plate 39, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 69.

Fig. 10a: Aby Warburg, Atlas Plate 41, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 73.

Fig. 10b: Aby Warburg, Atlas Plate 46, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 85.

Fig. 11a: Autobiographical map rhizome drawn by Warburg, date unknown, from Kurt
Forster’s “Introduction,” in Aby Warburg The Renewal of Pagan Antiquity, 41.

Fig. 11b: Autobiographical map rhizome drawn by Warburg, date unknown, from Kurt
Forster’s “Introduction,” in Aby Warburg The Renewal of Pagan Antiquity, 41.

Fig. 11c: Map drawn by Warburg of Hopi villages and Keam’s Canyon, date unknown,
from Photographs at the Frontier: Aby Warburg in America 1895-1896, 35.

Fig. 12a: Aby Warburg, Atlas Plate A, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 9.

Fig. 12b: Diagram of Atlas Plate A, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 9.

2
Fig. 13a: Aby Warburg, Wanderkarte from “The Journeys of Sphaera Barbarica Lecture”,
1911, from Dorothea McEwan’s Aby Warburg (1866-1929) Dots and Lines.
Mapping the Diffusion of Astrological Motifs in Art History, 247.

Fig. 13b: Aby Warburg, Wanderkarte (red), from the “The Journeys of Sphaera
Barbarica Lecture”, 1911, from Dorothea McEwan’s Aby Warburg (1866-1929)
Dots and Lines. Mapping the Diffusion of Astrological Motifs in Art History,
257.

Fig. 14: Warburg’s Early In-house Library, Hamburg, Germany, 1920, from
http://warburg.sas.ac.uk/mnemosyne/Exhibitions/kwb/exhibit.htm.

Fig. 15a: Warburg Institute: 1st Floor: Image, 2012, diagram downloaded from
http://warburg.sas.ac.uk/.

Fig. 15b: Warburg Institute: 2nd Floor: Word, 2012, diagram downloaded from
http://warburg.sas.ac.uk/.

Fig. 15c: Warburg Institute: 3nd Floor: Orientation, 2012, diagram downloaded from
http://warburg.sas.ac.uk/.

Fig. 15d. Warburg Institute: 4th Floor: Action, 2012, diagram downloaded from
http://warburg.sas.ac.uk/.

Fig. 15e: Warburg Institute: Classification Scheme, 2012, diagram downloaded from
http://warburg.sas.ac.uk/.

Fig. 15f: Warburg Institute: How To Find A Book, 2012, diagram downloaded from
http://warburg.sas.ac.uk/.

Fig. 15g: Warburg Institute: How To Find A Book and Warburg Institute: Classification
Scheme, 2012, diagrams downloaded from http://warburg.sas.ac.uk/ and
modified by Charmaine Ortiz.

Fig. 16: The Warburg Institute, Hamburg, Germany, 1926, from
http://warburg.sas.ac.uk/mnemosyne/Exhibitions/kwb/exhibit.htm.

Fig. 17: Warburg Institute: Reading Room with Mnemosyne Atlas, Hamburg, Germany,
1926, from http://warburg.sas.ac.uk.

Fig. 18: Warburg Institute’s Catalog System: University of London, from
http://warburg.sas.ac.uk/mnemosyne/SUBJECTS.htm.

Fig. 19. Aby Warburg, Multiple Atlas Plates, 1924-1929, from http://warburg.sas.ac.uk.

3
Fig. 20a: Aby Warburg, Atlas Plate 77, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 129.

Fig. 20b: Aby Warburg, Atlas Plate 77 (rearrangements), 1924-1929, from Martin Warnke’s
Der Bilderatlas Mnemosyne (Spanish translation), XIV.

Fig. 21: Aby Warburg, Multiple Atlas Plates, 1924-1929, from http://warburg.sas.ac.uk.

Fig. 22a: Aby Warburg, Atlas Plate C, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 13.

Fig. 22b: Diagram of Atlas Plate C, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 13.

Fig. 22c: Aby Warburg, Atlas Plate 1, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 14.

Fig. 22d: Aby Warburg, Atlas Plate 2, 1924-1929, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), 16.

Fig. 22e: Aby Warburg, Atlas Plate B, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 10.

Fig. 22f: Aby Warburg, Atlas Plate 20, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 30.

Fig. 22g: Aby Warburg, Atlas Plate 21, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 32.

Fig. 22h: Aby Warburg, Atlas Plate 22, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 30.

Fig. 22i: Aby Warburg, Atlas Plate 23a, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 34.

Fig. 23a: Yumi Takhasi and Ikuyo Shibukawa’s Color Coordination, from Edward Tufte’s
Envisioning Information, 33.

Fig. 23b: Yumi Takhasi and Ikuyo Shibukawa’s Color Coordination, from Edward Tufte’s
Envisioning Information, 33, modified by Charmaine Ortiz.

Fig. 23c: Yumi Takhasi and Ikuyo Shibukawa’s Color Coordination, from Edward Tufte’s
Envisioning Information, 33, modified by Charmaine Ortiz.

Fig. 23d: Yumi Takhasi and Ikuyo Shibukawa’s Color Coordination, from Edward Tufte’s
Envisioning Information, 33, modified by Charmaine Ortiz.
4
Fig. 24a: Aby Warburg, Atlas Plate B, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), 10, modified by Charmaine Ortiz.

Fig. 24b: Aby Warburg, Atlas Plates B, 21, 22, and 23a, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), modified by Charmaine Ortiz.

Fig. 24c: Aby Warburg, Atlas Plates B, 21, 22, and 23a, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), modified by Charmaine Ortiz.

Fig. 24d: Aby Warburg, Atlas Plates B, 21, 22, and 23a, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), modified by Charmaine Ortiz.

Fig. 25a: Aby Warburg, Atlas Plate B, from Martin Warnke’s Der Bilderatlas Mnemosyne
(Spanish translation), modified by Charmaine Ortiz.

Fig. 25b: Aby Warburg, Atlas Plates B, 20, 22, and 23a, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), modified by Charmaine Ortiz.

Fig. 25c: Aby Warburg, Atlas Plates B, 20, 22, and 23a, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), modified by Charmaine Ortiz.

Fig. 25d: Aby Warburg, Atlas Plates B, 20, 22, and 23a, from Martin Warnke’s Der Bilderatlas
Mnemosyne (Spanish translation), modified by Charmaine Ortiz.

5