Rudolf Schenda (1930-2000)

James Loeb. Collector and Patron in Munich, Murnau and Beyond, edited from Herman Mayer, Brigitte Salmen and the James Loeb Gesellschaft, 2018

James Loeb. Sammler und Mäzen in München, Murnau und weltweit, hrsg. von Hermann Mayer, Brigitte Salmen und der James Loeb Gesellschaft, 2018

Technology in Society, 1998

Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work.

2019

Acceptance speech on behalf of Rudolf G. Wagner on his award of the Karl Jaspers Prize, November 14, 2019, reworked November 25, 2019

L.W.S.W. Amkreutz (ed.), Collecting Ancient Europe. National Museums and the search for European Antiquities in the 19th-early 20th century. (Palma 23), 2020

2017

Cenquatrevue, 2009

Laure Cahen-Maurel, “Journal of the Warburg Library (1926-1929)” - Introduction and Excerpts (English). First published in the journal “Cenquatrevue”, Vol. 1 (May 2009), p. 163-172. The following is the English translation of my introduction to Aby Warburg’s Diary of the Library of Sciences of Culture (the "Kulturwissenschaftliche Bibliothek Warburg" or "K. B. W."), as well as a selection of excerpts from the Diary itself. Beginning with the inauguration in 1926 of the new building that transformed the personal library of the German art historian Warburg into a (semi)-public institute, the Diary records the intellectual adventures of the last four years of his work: the exploration of ancient astrology and medieval magic; the politics of an image on a postage stamp entitled "Idea vincit"; the Mnemosyne atlas; or the reading of Giordano Bruno. In the arrangement of the library space, it is the very spirit of Warburg that is incarnated and reflected, with all its internal tensions. A living sanctuary of a thought in movement that needs to be put into space, the inner chaos has to be transformed into apparent order, his library blurs the boundaries of the interior and exterior by attempting to decompartmentalize the different types of knowledge, and open up as many avenues as possible. A library of Babel or labyrinth of Daedalus, this private reflection of the spirit of a man is also the universal reflection of the history of forms in the expression of human existence.

2010

Heiko damm, Michael thimann, claus Zittel i. The Artist as Reader: Outlines of Research Generally we are more interested in the books artists produced than in those they drew on for their work. Whereas artists' books have established themselves as collection items and subjects of research with the advent of modernism, we become aware of the books artists owned especially when they land in archives as part of a bequest or when they belong to the inventories of historic artists' homes or studios. often enough, even today works of art eloquently-and even perhaps at times too explicitlyinform about what the artist read. the fact is that even the subtlest intermedial allusions and mere anticipation of being able to discover traces of literary affiliations secures the curiosity of interpreters for such works of the visual arts. to the question put to him in spring 2009 of whether a specific work of art had changed his view of the world, damien Hirst retorted: oh there's millions! You know, i've fucking devoured artworks for years. Just went through cage and everything. Francis Bacon or Jeff Koons probably changed my life. there's so many great artists. i remember being in the library of the school, looking at all the books, thinking: Fuck! You know, i'm gonna read all this.1 3 Klein r., "die Bibliothek von Mirandola und das Giorgione zugeschriebene 'concert champêtre' ", Zeitschrift für Kunstgeschichte 30 (1967) 199-206. 4 on research of artists' libraries and artists as readers we find a pioneer in Białostocki J.: "doctus artifex and the library of the artist in XVith and XViith century", in Horodisch A. (ed.