Warburg, Aby M. “The Absorption of the Expressive Values of the Past.” Trans. Matthew Rampley. Art In Translation 1.2 (July 2009): 273-283 [A translation of Warburg’s “Einleitung” (Introduction) to the Mnemosyne Atlas].
-----. Photographs at the Frontier: Aby Warburg in America, 1895-1896. Ed. Benedetta Cestelli Guidi, Nicholas Mann, and Armin W. Geertz. London: Merrell Holberton in association with the Warburg Institute, 1998.
Agamben, Giorgio. “Aby Warburg and the Nameless Science.” Potentialities: Collected Essays in Philosophy. Trans. Daniel Heller-Roazen. Stanford: Stanford University Press, 1999. 89-103.
Freedberg, David. “Warburg’s Masks: A Study of Idolatry.” Anthropologies of Art. Ed. Mariët Westermann. Williamstown, MA: Sterling and Francine Clark Art Institute in association with Yale University Press, 2005; pp. 3-25.
Gombrich, E. H. Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986.
“Survivance d’Aby Warburg.” Images re-vues: histoire, anthropologie et théorie de l’art. Hors-série 4 (2013).
“The Warburg Institute: A Special Issue on the Library and Its Readers.” Common Knowledge 18.1 (Winter 2012). Includes articles by Anthony Grafton, Jeffrey Hamburger, Peter Mack, Michael Baxandall, Elizabeth Sears, Georges Didi-Huberman, Joseph Leo Koerner, Christopher Wood, Jill Kraye, Michael P. Steinberg, and Thomas DaCosta Kaufmann.
Wedepohl, Claudia. Wedepohl, Claudia. “Aby Warburg.” Oxford Bibliographies in Art History (2016)
Wind, Edgar. “Warburg's Concept of Kulturwissenschaft and its Meaning for Aesthetics” and “On a Recent Biography of Warburg.” The Eloquence of Symbols: Studies in Humanist Art by Edgar Wind. Ed. Jaynie Anderson. Rev. ed. Oxford: Clarendon, 1993. 21-36; 106-114.
Panofsky, Erwin. “The History of the Theory of Human Proportions as a Reflection of the History of Styles.” Meaning in the Visual Arts by Panofsky. Chicago: University of Chicago Press, 1983. 55-107 (originally published as “Die Entwicklung der Proportionslehre als Abbild der Stilentwicklung,” Monatshefte für Kunstwissenschaft 14 [1921]: 188-219).
Saxl, Fritz. “Microcosm and Macrocosm.” Lectures. Vol. 1. London: Warburg Institute, 1957. 58-72.
Warburg, Aby. “Pagan-Antique Prophecy in Words and Images in the Age of Luther” (1920) and “Astrology under Oriental Influence” (1926). The Renewal of Pagan Antiquity: Contributions to the Cultural History of the Renaissance. Ed. Kurt W. Forster. Trans. David Britt. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999. 597-698, 699-702.
------. “Airship and Submarine in the Medieval Imagination” (1913) and “Pagan-Antique Prophecy in Words and Images in the Age of Luther” (1920). The Renewal of Pagan Antiquity: Contributions to the Cultural History of the Renaissance. Ed. Kurt W. Forster. Trans. David Britt. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999. 333-38, 597-698.
------. “Die Einwirkung der Sphaera barbarica auf die kosmischen Orientierungsversuche des Abendlandes” (1925) and “Bildersammlung zur Geschichte von Sternglaube und Sternkunde” (1930-1941). Bilderreihen und Ausstellungen. Ed. Uwe Fleckner and Isabella Woldt. Gesammelte Schriften II.2. Berlin: Akademie, 2012. 19-55; 389-460.
Jones, H. Stuart. The Sculptures of the Museo Capitolino. Oxford: Clarendon, 1912.
Mann, Nicholas. “Denkenergetische Inversion: Aby Warburg and Giordano Bruno.” Publications of the English Goethe Society 82 (2003): 25-37.
Vermaseren, M. J. Corpus inscriptionum et monumentorum religionis Mithriacae. The Hague: Nijhoff, 1956-60.
------. The Mithraeum at S. Maria Capua Vetere. Leiden: Brill, 1971.
Warburg, Aby. “Die Einwirkung der Sphaera barbarica auf die kosmischen Orientierungsversuche des Abendlandes” (1925) and “Bildersammlung zur Geschichte von Sternglaube und Sternkunde” (1930-1941). Bilderreihen und Ausstellungen. Ed. Uwe Fleckner and Isabella Woldt. Gesammelte Schriften II.2. Berlin: Akademie, 2012. 19-55, 389-460.
------. Giordano Bruno [WIA, III.121.1.1]. Ed. Maurizio Ghelardi and Giovanna Targia, Cassirer Studies 1 (2008): 13-58.
Warburg, Aby. “The Art of Portraiture and the Florentine Bourgeoisie” (1902) and “Francesco Sassetti’s Last Injunction to His Sons” (1907). The Renewal of Pagan Antiquity: Contributions to the Cultural History of the Renaissance. Ed. Kurt W. Forster. Trans. David Britt. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999. 185-222; 223-62.
------. “Römische Antike in der Werkstatt des Domenico Ghirlandaio” (1929, Hertziana lecture). Bilderreihen und Ausstellungen. Ed. Uwe Fleckner and Isabella Woldt. Gesammelte Schriften II.2. Berlin: Akademie, 2012. 303-65.
Gombrich, E. H. “Fragment of the Nympha.” Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986. 105-127.
Hildebrand, Adolf. “The Problem of Form in the Fine Arts” (1893). Empathy, Form and Space. Problems in German Aesthetics 1873-1893. Ed. and trans. Harry F. Mallgrave and Eleftherios Ikonomou. Santa Monica: The Getty Center for the History of Art and the Humanities, 1994. 227-279.
Huber, Gabriele. “Warburgs Ninfa, Freuds Gradiva und ihre Metamorphose bei Masson.” Denkräume zwischen Kunst und Wissenschaft. Ed. Silvia Baumgart and Gesa Birkle. Berlin: Dietrich Reimer Verlag, 1993. 443-460.
Papapetros, Spyros. “Aby Warburg as Reader of Gottfried Semper: Reflections on the Cosmic Character of Ornament.” Elective Affinities. Testing Word and Image Relationships. Ed. Catriona MacLeod, Véronique Plesch and Charlotte Schoell-Glass. Amsterdam/New York: Rodopi, 2009. 317-355.
Pinotti, Andrea. “Chi ha paura dello pseudomorfo?” Rivista di estetica 62 (2016): 81–98.
------. “Soggetti della storia, soggetti alla storia. Warburg, le immagini, la tradizione.” Visual History. Rivista internazionale di storia e critica dell'immagine 2 (2016): 141–146.
Tornabuoni, Lucrezia. Sacred Narratives. Ed. and trans. Jane Tylus. University of Chicago Press, 2001.
Vischer, Robert. “On the Optical Sense of Form: A Contribution to Aesthetics” (1873). Empathy, Form and Space. Problems in German Aesthetics 1873-1893. Ed. and trans. Harry F. Mallgrave and Eleftherios Ikonomou. Santa Monica: The Getty Center for the History of Art and the Humanities, 1994. 89-123.
Warburg, Aby. “The Entry of the Idealising Classical Style in the Painting of the Early Renaissance” (1914). Trans. Matthew Rampley. Art History as Cultural History: Warburg’s Projects. Ed. Richard Woodfield. Amsterdam: OPA, 2001. 7-31.
------. “Ninfa fiorentina” (1900). Werke in einem Band. By Aby Warburg. Ed. Martin Treml, Sigrid Weigel and Perdita Ladwig. Frankfurt-am-Main: Suhrkamp, 2010. 198-210.
------. “Sandro Botticelli’s Venus and The Birth of Spring” (1893); “The Art of Portraiture and the Florentine Bourgeoisie” (1902); and “Francesco Sassetti’s Last Injunction to His Sons” (1907). The Renewal of Pagan Antiquity: Contributions to the Cultural History of the Renaissance. Ed. Kurt W. Forster. Trans. David Britt. Los Angeles: Getty Research Institute for the History of Art and the Humanities, 1999. 89-156; 185-222; 223-62.
------. “Römische Antike in der Werkstatt des Domenico Ghirlandaio” (1929, Hertziana lecture), Bilderreihen und Ausstellungen. Ed. Uwe Fleckner and Isabella Woldt. Gesammelte Schriften II.2. Berlin: Akademie, 2012. 303-65.
Weigel, Sigrid. “Aby Warburgs ‘Göttin im Exil’. Das ‘Nymphenfragment’ zwischen Brief und Taxonomie, gelesen mit Heinrich Heine. Vorträge aus dem Warburg-Haus 4 (2000): 65-103.
E. H. Gombrich, “Tobias and the angel,” in Symbolic images: studies in the art of the Renaissance. Phaidon: London, 1972. 26-30.
Volker Krahn, Bartolomeo Bellano: Studien zur Paduaner Plastik des Quattrocento. scaneg: Munich, 1988. 150-152.
Warburg, Aby. “The art of portraiture and the Florentine bourgeoisie” and “Francesco Sassetti’s last injunctions to his son.” Trans. David Britt. The Renewal of Pagan Antiquity. Los Angeles: The Getty Research Institute, 1999. 184-262.
------. Per monstram ad sphaeram: Sternglaube und Bilddeutung. Ed. Davide Stimilli. Dölling und Galitz Verlag: Munich, 2008.
Charlotte Schoell-Glass. Berlin: Akademie, 2001. 17; 417.
Gombrich, E. H. Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986. 228-37.
Leuschner, Eckhard. Antonio Tempesta: ein Bahnbrecher des römischen Barock und seine europäische Wirkung. Petersberg: Imhof, 2005.
Meijer, Reinder P. Literature of the Low Countries. A Short History of Dutch Literature in the Netherlands and Belgium. The Hague and Boston: Nijhoff, 1978.
Panofsky, Erwin. Early Netherlandish Painting. 2 vols. New York: Harper & Row, 1987.
------. Tagebuch der Kulturwissenschaftlichen Bibliothek Warburg mit Einträgen von Gertrud Bing und Fritz Saxl. Gesammelte Schriften VII. Ed. Karen Michels and
Cassirer, Ernst. “Nachruf auf Aby Warburg.” Aufsätze und Kleine Schriften (1927-1931). Ed. Tobias Berben. Gesammelte Werke. Hamburger Ausgabe 17 by Ernst Cassirer. Ed. Birgit Recki. Hamburg: Meiner, 2004.
Newbigin, Nerida. “Dieci rappresentazioni sacre inedite del Quattro e Cinquecento,” Letteratura italiana antica 10 (2009): 21–397, esp. 74–97.
Schoell-Glass, Charlotte. Aby Warburg and Anti-Semitism: Political Perspectives on Images and Culture. Trans. S. P. Willcocks. Detroit: Wayne State University Press, 2008.
Warburg, Aby. Tagebuch der Kulturwissenschaftlichen Bibliothek Warburg mit Einträgen von Gertrud Bing und Fritz Saxl. Gesammelte Schriften VII. Ed. Karen Michels and Charlotte Schoell-Glass. Berlin: Akademie, 2001. 392; 506.
Georges Didi-Huberman, Atlas ou le gai savoir inquiet (Paris: Les éditions de minuit, 2011).