Guided Pathway

Works Cited:

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Brown, Marshall. “The Classic is the Baroque: On the Principle of Wölfflin’s Art History.” Critical Inquiry 9.2 (1982): 379-404.

Christiansen, Keith. “Going for Baroque. Bringing 17th-Century Masters to the Met.” The Metropolitan Museum of Art Bulletin 62: 3 (Winter, 2005): 3-48.

Dams, Britt. “Elias Herckmans: A Poet at the Borders of Dutch Brazil.” Intersections 14 (2010): 19-38.

Golahny, Amy. “Rembrandt’s Abduction of Proserpina.” The Age of Rembrandt. Studies in Seventeenth-Century Dutch Painting. Ed. Roland E. Fleischer and Susan Scott Munshower. Papers in Art History from the Pennsylvania State University, vol. III. 1988. 29-45.

-—-. Rembrandt’s Reading. The Artist’s Bookshelf of Ancient Poetry and History. Amsterdam: Amsterdam University Press, 2003.

Gombrich, E. H. Aby Warburg: An Intellectual Biography. 2nd ed. Chicago: University of Chicago Press, 1986. 228-37.

Holly, Michael Ann. “Wölfflin and the Imagining of the Baroque.” Visual Culture: Images and Interpretations. Ed. Norman Bryson et al. Hanover, NH and London: University Press of New England, 1994. 347-64.

Johnson, Christopher D. Memory, Metaphor, and Aby Warburg’s Atlas of Images. Ithaca, NY: Cornell University Press and Cornell University Library, 2012.

Leuschner, Eckhard. “Aby Warburg and Tempesta.” Antonio Tempesta: Ein Bahnbrecher des römischen Barock und seine europäische Wirkung. By Leuschner. Petersberg: M. Imhof, 2005. 562-82.

McEwan, Dorothea. Fritz Saxl – Eine Biografie. Aby Warburgs Bibliothekar und erster Direktor des Londoners Warburg Institutes. Weimar: Böhlau, 2012.

Newman, Jane O. Benjamin’s Library. Modernity, Nation, and the Baroque. Ithaca, NY: Cornell University Press and Cornell University Library, 2011.

-—-. “Enchantment in Times of War: Aby Warburg, Walter Benjamin, and the Secularization Thesis.” In: Representations 105 (2009): 133-67.

Restorff, N., “Elements of a Composition of Elsheimer’s Traced in a Painting by Rembrandt.” The Burlington Magazine 12 (1907-8): 105.

Van Leuvensteijn, Arjan, and Evert Wattel. “Stijlvolle moorden in Costers Polyxena. Stilistische functies van clauslente, perceptief continuüm en enjambment.” Tijdschrift voor Nederlandse Taal - en Letterkunde 2 (2008): 106-140.

Warburg, Aby. “Dürer and Italian Antiquity” (1905). The Renewal of Pagan Antiquity: Contributions to the Cultural History of the Renaissance. Ed. Kurt W. Forster. Trans. David Britt. Los Angeles: Getty, 1999. 553-58.

-—-. “Mnemosyne. Einleitung.” Der Bilderatlas MNEMOSYNE. By Warburg. Ed. Martin Warnke and Claudia Brink. 4th ed. Berlin: Akademie, 2012. 3-6.

-—-. “Mnemosyne I. Aufzeichnungen (1927-1929).” Werke in einem Band. By Warburg. Ed. Martin Treml et al. Frankfurt: Suhrkamp, 2010. 640-6.

-—-. “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, 1999. 597-698, 699-702.

-—-. “Die Richtungen der Kunstgeschichte” (1903). Warburg. Werke in einem Band. Ed. Martin Treml et al. Frankfurt: Suhrkamp, 2010. 672-9.

Warnke, Martin. “Vier Stichworte: Ikonologie-Pathosformal-Polarität und Ausgleich-Schlahbilder und Bilderfahrzeuge.” Die Menschenrecht des Auges. Über Aby Warburg. Frankfurt: Europäische Verlagsanstalt, 1980. 53-83.

Wölfflin, Heinrich. Principles of Art History. The Problem of the Development of Style in Later Art. (Orig. 1915). Trans. M.D. Hottinger. New York: Dover, 1950.

-—-. Renaissance and Baroque. (Orig. 1888). Trans. Kathrin Simon. Ithaca, NY: Cornell University Press, 1964.