The presented text is an attempt at a critical analysis of the American episode in Warburg’s life and associated literature, whose considerable part repeats the same information and motifs; almost all publications represent an uncritical approach. Warburg has been rendered the object of idolatry as a pioneering example of combining the history of art and anthropology. His example is an excellent lesson on the dangers lurking in the meeting point of the history of art and anthropology: it calls for a less hagiographic approach on the part of the reader and more caution.
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