This paper explores the intersection of Aby Warburg’s theories on art, and more specifically on the representations of movement, gesture, and facial expression, with contemporary neuroscientific research. Many of Warburg’s pioneering ideas seem to be validated by studies in embodied cognition, mirror neurons system, and neuroaesthetics. By examining various artistic forms, the paper shows how the representation of movement, gesture and facial expression engages visual perception and triggers motor, sensitive and emotional reactions in the brain of the observer. Neurophysiological response to art is investigated through many different electroneuroophysiological and neuroimaging techniques, such as electroencephalography and functional magnetic resonance imaging, revealing that art perception involves an embodied simulation of the depicted gestures and emotions. Another goal of the paper is to suggest how an interdisciplinary approach, integrating art history with neuroscience, may lead to achieving a more comprehensive understanding of aesthetic experiences. This convergence enriches Warburg’s historical insights and highlights how biological and cultural dimensions interact to shape our engagement with art.
Piccichè et al. (2025) studied this question.