Edgar Wind

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Edgar Wind ( /wɪnd/ ; 14 May 1900 – 12 September 1971) was a German-born British interdisciplinary art historian, specializing in iconology in the Renaissance era. He was a member of the school of art historians associated with Aby Warburg and the Warburg Institute as well as the first Professor of art history at Oxford University.

Interdisciplinarity or interdisciplinary studies involves the combining of two or more academic disciplines into one activity. It draws knowledge from several other fields like sociology, anthropology, psychology, economics etc. It is about creating something by thinking across boundaries. It is related to an interdiscipline or an interdisciplinary field, which is an organizational unit that crosses traditional boundaries between academic disciplines or schools of thought, as new needs and professions emerge. Large engineering teams are usually interdisciplinary, as a power station or mobile phone or other project requires the melding of several specialties. However, the term "interdisciplinary" is sometimes confined to academic settings.

Iconology is a method of interpretation in cultural history and the history of art used by Aby Warburg, Erwin Panofsky and their followers that uncovers the cultural, social, and historical background of themes and subjects in the visual arts.

Renaissance European cultural period, 14th to 17th century

The Renaissance is a period in European history, covering the span between the 14th and 17th centuries and marking the transition from the Middle Ages to modernity. The traditional view focuses more on the early modern aspects of the Renaissance and argues that it was a break from the past, but many historians today focus more on its medieval aspects and argue that it was an extension of the middle ages.


Wind is best remembered for his research in allegory and the use of pagan mythology during the 15th and 16th centuries, and for his book on the subject, Pagan Mysteries in the Renaissance.

Allegory figure of speech

As a literary device, an allegory is a metaphor in which a character, place or event is used to deliver a broader message about real-world issues and occurrences. Allegory has occurred widely throughout history in all forms of art, largely because it can readily illustrate or convey complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.

Mythology is the main component of Religion. It refers to systems of concepts that are of high importance to a certain community, making statements concerning the supernatural or sacred. Religion is the broader term, besides mythological system, it includes ritual. A given mythology is almost always associated with a certain religion such as Greek mythology with Ancient Greek religion. Disconnected from its religious system, a myth may lose its immediate relevance to the community and evolve—away from sacred importance—into a legend or folktale.


Wind was born in Berlin, Germany, one of the two children of Maurice Delmar Wind, an Argentinian merchant of Russian Jewish ancestry, and his Romanian wife Laura Szilard. [1]

Berlin Capital of Germany

Berlin is the capital and largest city of Germany by both area and population. Its 3,748,148 (2018) inhabitants make it the second most populous city proper of the European Union after London. The city is one of Germany's 16 federal states. It is surrounded by the state of Brandenburg, and contiguous with its capital, Potsdam. The two cities are at the center of the Berlin-Brandenburg capital region, which is, with about six million inhabitants and an area of more than 30,000 km², Germany's third-largest metropolitan region after the Rhine-Ruhr and Rhine-Main regions.

Germany Federal parliamentary republic in central-western Europe

Germany, officially the Federal Republic of Germany, is a country in Central and Western Europe, lying between the Baltic and North Seas to the north, and the Alps, Lake Constance and the High Rhine to the south. It borders Denmark to the north, Poland and the Czech Republic to the east, Austria and Switzerland to the south, France to the southwest, and Luxembourg, Belgium and the Netherlands to the west.

He received a thorough training in mathematics and philosophical studies, [2] both at his Gymnasium in Charlottenburg, and then at university in Berlin, Freiburg, and Vienna. He completed his dissertation in Hamburg, where he was Erwin Panofsky's first student.

Erwin Panofsky art historian

Erwin Panofsky was a German-Jewish art historian, whose academic career was pursued mostly in the U.S. after the rise of the Nazi regime.

Wind left to teach briefly in the United States for financial reasons (he had a two-year appointment at the University of North Carolina from 1925–27), but then returned to Hamburg as a research assistant. It was there that he got to know Aby Warburg, and was instrumental in moving the Warburg Library out of Germany to London during the Nazi period. Warburg's influence on Wind's own methods was significant.

University of North Carolina at Chapel Hill public research university in Chapel Hill, North Carolina, United States

The University of North Carolina at Chapel Hill (UNC), also known as UNC-Chapel Hill, Chapel Hill, North Carolina, or simply Carolina is a public research university in Chapel Hill, North Carolina. It is the flagship of the 17 campuses of the University of North Carolina system. After being chartered in 1789, the university first began enrolling students in 1795, which also allows it to be one of three schools to claim the title of the oldest public university in the United States. Among the claimants, the University of North Carolina at Chapel Hill is the only one to have held classes and graduated students as a public university in the eighteenth century.

Aby Warburg German art historian and cultural theorist

Abraham Moritz Warburg, known as Aby Warburg, was a German art historian and cultural theorist who founded a private Library for Cultural Studies, the Kulturwissenschaftliche Bibliothek Warburg, which was later moved to the Warburg Institute, London. At the heart of his research was the legacy of the Classical World, and the transmission of classical representation, in the most varied areas of western culture through to the Renaissance.

Once in London, Wind taught and became involved with the Warburg Institute, helping found the Journal of the Warburg and Courtauld Institute in 1937. During the war he returned to the US and held several teaching positions, at New York University, University of Chicago, and Smith College. He received a Guggenheim Fellowship in 1950.

Warburg Institute research institution associated with the University of London

The Warburg Institute is a research institution associated with the University of London in central London, England. A member of the School of Advanced Study, its focus is the study of cultural history and the role of images in culture - cross-disciplinary and global. It is concerned with the histories of art and science, and their relationship with superstition, magic, and popular beliefs.

New York University private research university in New York, NY, United States

New York University (NYU) is a private research university originally founded in New York City but now with campuses and locations throughout the world. Founded in 1831, NYU's historical campus is in Greenwich Village, New York City. As a global university, students can graduate from its degree-granting campuses in NYU Abu Dhabi and NYU Shanghai, as well as study at its 12 academic centers in Accra, Berlin, Buenos Aires, Florence, London, Los Angeles, Madrid, Paris, Prague, Sydney, Tel Aviv, and Washington, D.C.

University of Chicago Private research university in Chicago, Illinois, United States

The University of Chicago is a private research university in Chicago, Illinois. The school is located on a 217-acre campus in Chicago's Hyde Park neighborhood, near Lake Michigan. The University of Chicago holds top-ten positions in various national and international rankings.

Finally, in 1955 Wind returned to England and became Oxford University's first professor of art history, a position he maintained until his retirement in 1967. He died in London. There is now a reading room in Oxford's new Sackler Library dedicated to him, where his works are stored. Wind, although considered a classicist and Renaissance expert, staunchly defended modern art, unlike many of his colleagues: "If modern art is sometimes shrill," he said, "it is not the fault of artist alone. We all incline to raise our voices when we speak to people who are getting deaf." [3]

Oxford University's student art and art history society is named after him. [4]


Wind was an enthusiastic and respected lecturer at many institutions. He was a key example of the phenomenon of the "Warburgian scholar" in the American academic scene, [5] equally at home in art, literature, history, and philosophy, and giving "pyrotechnical lectures." Says one student of Wind's at Smith, "his Hamburg accent and his puckish smile ... remain the most delightful memories...his...charisma...is the quality that made the greatest impression... [His] utterly charming European manner, urbane, intellectual must have been stimulating and encouraging to [his colleagues.]" [5] Wind was a crucial influence on the young R.B. Kitaj, who enrolled at the Ruskin School, Oxford in early 1957, introducing him to the work and legacy of Aby Warburg. He personally encouraged Kitaj, inviting him to tea with him and his wife, Margaret, at his flat in Belsyre Court. [6] Someone who in 1967 attended his Oxford lectures on the Sistine ceiling recalls the packed house at the Sheldonian Theatre, the vast erudition behind the tracing of the "theology" of Michelangelo's figures, and simply the excitement of learning about the order of one Renaissance world picture.


Wind's two most famous works are Pagan Mysteries in the Renaissance and Art and Anarchy.

Pagan Mysteries in the Renaissance

Mysteries' chief aim was to "elucidate a number of great Renaissance works of art". [7] He maintained that "ideas forcefully expressed in art were alive in other areas of human endeavor". [2] His thesis was that "the presence of unresolved residues of meaning is an obstacle to the enjoyment of art", [7] and he attempted to "help remove the veil of obscurity which not only distance in time...but a deliberate obliqueness in the use of metaphor has spread over some of the greatest Renaissance paintings." [7]

Wind's book has been heavily criticised (by André Chastel, Carlo Ginzburg, E.H. Gombrich, and others) for frequent misreadings of sources and a "one-sided" fixation on the Neoplatonic perspective. [8]

Art and Anarchy

In 1960, the BBC invited Wind to present the annual Reith Lectures. In this series of six radio talks, titled Art and Anarchy , he examined why, and how, great art is often produced in turbulent circumstances.

These lectures were later compiled into a book, also entitled Art and Anarchy. In it he notes that, over time, public audiences have lost their capacity for an immediate and visceral response to art. The production and appreciation of art, he observes, has become marginalized and domesticated to a point where it can no longer significantly and lastingly move its addressees. Wind’s impulse in the piece is apparently restorative; he seeks to impede the observed tendency toward apathy and recover some of art’s latent anarchic quality.

Wind begins his argument by presenting the long-standing conceptual correlation between art and forces of chaos or disorder, citing a lineage of thinkers and artists including Plato, Goethe, Baudelaire and Burckhardt. Particular emphasis is placed on Plato’s distrustful view of the imagination as fundamentally uncontrollable; Plato explicitly denied the true artist a place in his imagined ideal republic, not for lack of respect for the artist’s talent but out of fear for his capacity to upset the social balance. Wind also notes the repeated historical coincidence – in Greece at Plato’s time and in Italy during the Renaissance – of peaks in artistic accomplishment with political turmoil and breakdown.

Wind notes, however, that the recent surplus of artwork available to the public eye has to some extent anesthetized the audience to art at large. Wind is quick to acknowledge that society maintains a broad and active concern with art as well as increasingly refined faculties with which to interpret such work. Yet this interest is a significant dilution of the passion with which art was received in the past: “We are much given to art, but it touches us lightly…art is so well-received because it has lost its sting.”

Wind refers frequently to Hegel in isolating the particular change that art has undergone: “when art is removed to a zone of safety, it may still remain very good art indeed, and also very popular art, but its effect on our existence will vanish.” Art has thus, according to Wind, moved to life’s periphery. Again, Wind notes that this distance carries with it certain benefits for the scholarly approach to art; “detachment brought freshness and breadth, and a freedom from prejudice, a willingness to explore the unfamiliar, even the repulsive, and to risk new adventures of sensibility.” At the same time, however, art has lost its ability to resonate at levels deeper than the intellect, to incite the passions. Engaging with a work of art has become an act of mere observation as opposed to “vital participation.” Art has, for Wind, gained interest at the expense of potency.

By way of resolution, Wind suggests an intermediate and integrative approach, supplementing the tolerance afforded by aesthetic detachment with an insistence on personal assessment on behalf of the work’s audience: “We should react to a work of art on two levels: we should judge it aesthetically in its own terms, but we should also decide whether we find those terms acceptable.” As such, Wind indicates that the intellectual advantages of the contemporary approach to art may be retained without sacrificing the “directly [felt]” quality that is so fundamental to it.


  1. 1 2 Kleinbauer p. 63
  2. New York Times
  3. The Edgar Wind Society
  4. 1 2 Eisler, p.618
  5. Chaney, 2012
  6. 1 2 3 Pagan Mysteries in the Renaissance
  7. Ginzburg, Carlo. "From Aby Warburg to E.H. Gombrich." In Clues, Myths, and the Historical Method, 44-46. Baltimore: JHU Press, 1989.

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