painting series and exhibitions

However, no comprehensive research has yet been conducted on Aby Warburg’s approach to exhibition design and the aesthetic/plastic quality of the panel arrangements associated with the early montage technique. The text titled Painting Series and Exhibitions, which was published as a book in 2012 in the second part of the second volume of Warburg’s collected writings, includes explanations on the processes of thought and display, the combination of seemingly disconnected paintings, and some examples of drawings. As can be seen, the number of Warburg’s works made solely for exhibition purposes is not high. Accordingly, the Bilderatlas panels are not envisaged as an arrangement consisting solely of visuals. They are the main part of a project that will be complemented with textual support and will be completed with a book. In other words, it is an unfinished project. Among these works, only the Collection of Paintings on Astrology and the History of Astronomy is the only exhibition project organised by Warburg, and it is not intended to accompany any lectures or lectures. Based on the text Painting Series and Exhibitions, the following classification is made:

1- bilderatlas mnemosyne Bilderatlas due to Warburg’s death in 1929, Atlas remained an unfinished project. the central theme of this work focuses on picture panels, as he did in his unfinished magnum opus, which brought together images on a wide variety of supports, from woodcuts to postage stamps, to illustrate the migration of symbols. The original picture panels have been reconstructed using photographs stored in the archive of the Warburg Institute in London or his own drawings. Panel by panel, reproduction by reproduction, the editors have identified all the visual material in the series of 13 paintings created between 1925 and 1929.

2- a series of paintings analysing the images used on postage stamps  In the series of paintings of 1927, Warburg’s intense interest in his own time in his last years can be clearly seen in the series of paintings examining the role of postage stamp images in the exchange of ideas. Warburg was ‘acutely aware of the problems of a democracy without images and went so far as to present his own stamp design. Often, he chose ‘modern aeroplane motifs to convey the thought behind the airmail stamp. Most of the stamps mounted on picture panels draw on the traditional iconography of power and splendour, occasionally taking images from Antiquity as examples.

3-  manet and italian antiquity 1929 completed in Rome. It is designed to emphasise how images of the classical world have reached the modern age. Aby Warburg explores the issue of the formalisation of memory in the work of art in his short text on Édouard Manet’s Déjeuner sur l’herbe, 1929. (4) He analyses the movement of this motif by selecting a group of nymphs (nymphemes) in an ancient Roman sarcophagus. He tries to explain this change with a chain relationship between Raphael, seventeenth-century Dutch landscape paintings and Manet. In this continuum, he insists on the translation of meaning from the sacred to the profane. Warburg’s determinations in this direction are one of the issues that determine the thematic distinctions of the Bilderatlas Mnemosyne panels. (See 1929 edition, panels 3 and 20)

4– astroloji ve astronomi tarihi üzerine resim koleksiyonu sergisi,

Nisan 1930’da Hamburg Planetarium’unda açılan sergi, astronomik aletlerle duvar resimleri, modeller ve vitrinler, küçük bir kütüphane ve astroloji ve astronominin tarihini açıklayan duvar panellerinden oluşuyordu. Amaç, spekülasyondan hesaplamaya ve inançtan bilime geçişi göstermekti. Warburg tarafındanhazırlanan ve ölümünden bir yıl sonra gerçekleştirilen tek kalıcı sergidir. Bir konferansa ya da derse eşlik etme niyetiyle tasarlanmamıştır. (5) Serginin kataloğu, yıllar sonra (1987 yılında) Uwe Fleckner tarafından bir depoda bulunur. Astroloji ve Astronomi Tarihi Üzerine Resim Koleksiyonu adlı bu katalog; Warburg’un görsel dil geliştirme ve ustalıklı anlatım becerisi ile olağanüstü bağlantı kurma yeteneği hakkında önemli bilgiler, çizimler içerir. Sergilenen görüntüler (Bilderatlas Mnemosyne de dahil), genel izleyici için didaktik bir söyleme sahiptir. Hamburg’un kültürel tarihinde yer tutacak bir nitelikte;  astroloji ve astronomi perspektifinde yıldızların, takımyıldızlarının ve batıl inançların yanı sıra bilimsel imgeleri değerlendirmektedir. ♦