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Les ditions Macula sont heureuses de vous annoncer la parution de cette rdition, revue, corrige et augmente dun avantpropos et de deux nouveaux textes de PhilippeAlain Michaud : Zwischenreich Mnmosyne ou lexpressivit sans sujet et Passages des frontires . Fondateur de la discipline iconologique, crateur du prestigieux institut qui porte son nom, Aby Warburg (18661929) a compt parmi ses disciples les plus clbres historiens de l'art du sicle : Panofsky, Wind, Saxl...Mais ces hritiers ont, pour la plupart, prfr dvelopper une iconologie restreinte fonde sur le dchiffrement et linterprtation des symboles l o Warburg, nourri de Nietzsche et de Burckhardt, entendait assumer les risques dune iconologie critique .crire lhistoire de lart, cest non seulement confronter des objets htrognes, mais reprer dans luvre mme les lignes de fractures, les tensions, les contradictions, les nergies au travail : le tableau est la mise en suspens de facteurs incommensurables.Simultanment, Warburg renverse linterprtation de Winckelmann (qui cherchait dans lart grec la noble simplicit et la grandeur sereine ) et lui substitue comme vritable source de la Renaissance llan dionysiaque, lexpression du mouvement, de la danse, de la transe personnifis par la nymphe chevele, la mnade extatique et convulse. Avec Warburg, l'histoire de l'art n'opre plus aux confins de l'anthropologie : elle en est une catgorie. PhilippeAlain Michaud prolonge les intuitions de Warburg en introduisant dans son analyse le daguerrotype, les expriences de Marey, le cinma primitif, la danse de Loe Fuller, toutes pratiques qui affleurent dans l'interprtation warburgienne des images et qui en clairent la singularit.
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