DOI Heft:
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DOI Artikel:Recenzje
DOI Artikel:Miziołek, Jerzy: [Rezension von: Aby Warburg, The renewal of pagan antiquity: contribution to the cultural history of the European Renaissance]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.49350#0665
644
Jerzy Miziolek
3. Jacopo del Sellaio, Orpheus in the Underworld, tempera/oil on wood, spalliera, ca. 1490,
Kiev, Museum of Western and Oriental Art
3. Jacopo del Sellaio, Orfeusz w Hadesie, tempera i olej na desce, spalliera, ca. 1490, Kijów,
Muzeum Sztuki Zachodniej i Orientalnej
4 .Jacopo del Sellaio, Orpheus Charming Animals with his Musie, tempera/oil on wood,
ca. 1490, Cracow, Wawel Castle
4 .Jacopo del Sellaio, Orfeusz grający wśród zwierząt, tempera i olej na desce, ok.1490,
Kraków, Wawel
the irwention of the Primavera'4 5. The same can be
said of the Birth of Venus although this time War-
burg’s task was less complicated. As obseiwed by
Forster ‘Warburg estabilished an approach to the
content of the works in ąuestion and their literary
background that has remained unchallenged to this
day’. Even in the light of recent studies, suggesting
that it was rather Martianus Capella’s Nuptiis Mer-
curii et Philologiae and not Poliziano’s poetry that
was the main literary source for the Primavera War-
burg’s studies on Botticelli remain among the most
important on Italian art of the Quattrocento6.
5 C. DEMPSEY, The Portrayal ofLove. Botticelli’s ‘Pri-
mayera’ andHumanist Culture ofthe Time of Lorenza the
Magnificent, Princeton 1992, p. 36.
One of his principal scopes was to find out how
the painter and his patron imagined antiąuity, known
in fact to them through a few ancient sculptures. Re-
lated to Warburg’s sense of the work of art as part of
cultural history was, we should keep in mind, his
admirable precision in locating Botticelli’s models
from antiąue art in his artistic enviroment. On the
other hand, his research concerning the billowing
garments and flowing locks he had noticed in Botti-
celli’s art led him to further interesting observations.
In his short paper of 1898 entitled ‘Sandro Botticel-
li’ he wrote: ‘The body in stiding motion, the
6 C. VILLA, ‘Per una letteratura di “Primavera”. Mercu-
rio retrogrado e la Retorica nella bottega di Botticelli’,
Strumenti Critici, 86, 1998, pp. 1-28.
Jerzy Miziolek
3. Jacopo del Sellaio, Orpheus in the Underworld, tempera/oil on wood, spalliera, ca. 1490,
Kiev, Museum of Western and Oriental Art
3. Jacopo del Sellaio, Orfeusz w Hadesie, tempera i olej na desce, spalliera, ca. 1490, Kijów,
Muzeum Sztuki Zachodniej i Orientalnej
4 .Jacopo del Sellaio, Orpheus Charming Animals with his Musie, tempera/oil on wood,
ca. 1490, Cracow, Wawel Castle
4 .Jacopo del Sellaio, Orfeusz grający wśród zwierząt, tempera i olej na desce, ok.1490,
Kraków, Wawel
the irwention of the Primavera'4 5. The same can be
said of the Birth of Venus although this time War-
burg’s task was less complicated. As obseiwed by
Forster ‘Warburg estabilished an approach to the
content of the works in ąuestion and their literary
background that has remained unchallenged to this
day’. Even in the light of recent studies, suggesting
that it was rather Martianus Capella’s Nuptiis Mer-
curii et Philologiae and not Poliziano’s poetry that
was the main literary source for the Primavera War-
burg’s studies on Botticelli remain among the most
important on Italian art of the Quattrocento6.
5 C. DEMPSEY, The Portrayal ofLove. Botticelli’s ‘Pri-
mayera’ andHumanist Culture ofthe Time of Lorenza the
Magnificent, Princeton 1992, p. 36.
One of his principal scopes was to find out how
the painter and his patron imagined antiąuity, known
in fact to them through a few ancient sculptures. Re-
lated to Warburg’s sense of the work of art as part of
cultural history was, we should keep in mind, his
admirable precision in locating Botticelli’s models
from antiąue art in his artistic enviroment. On the
other hand, his research concerning the billowing
garments and flowing locks he had noticed in Botti-
celli’s art led him to further interesting observations.
In his short paper of 1898 entitled ‘Sandro Botticel-
li’ he wrote: ‘The body in stiding motion, the
6 C. VILLA, ‘Per una letteratura di “Primavera”. Mercu-
rio retrogrado e la Retorica nella bottega di Botticelli’,
Strumenti Critici, 86, 1998, pp. 1-28.