Remember me on this computer. MA thesis, University of Oslopp. Skip to main content. Sign in with your library card. Papers in and on Art History. Views and Reviewsed.
|Published (Last):||16 March 2012|
|PDF File Size:||16.5 Mb|
|ePub File Size:||6.6 Mb|
|Price:||Free* [*Free Regsitration Required]|
While iconology corresponds to the historical criticism of texts in literary studies, iconography has no obvious counterpart outside histories of the visual. At the same time, in art historical practice iconography and iconology feed into each other, as the literature surveyed in this bibliography shows.
General Overviews Panofsky is often criticized, but as a pioneering attempt to provide a philosophy of iconology it forms the starting point for later writers who differ from it Gombrich , Taylor Munich: C. Beck, The bibliography is useful, if focused on literature in German. Gombrich, E. Gombrich, 1— London: Phaidon, The volume as a whole contains his most important contributions to Renaissance iconography. London: Society for Renaissance Studies, Hochmann, Michel.
Hope, Charles. Edited by G. Lytle and S. Orgel, — Panofsky, Erwin. By Erwin Panofsky, 26— Garden City, NY: Doubleday, Straten, Roelof van. An Introduction to Iconography.
Translated by Patricia de Man. Yverdon, Switzerland: Gordon and Breach, Has a strong bias toward Netherlandish and German art, adds little if anything to the extant secondary literature, and devotes too much space to explaining the Iconclass system; but it is clearly written and its commented bibliographies are useful.
Taylor, Paul. Edited by Paul Taylor, 1— London: Warburg Institute,
ICONOGRAPHY AND ICONOLOGY PANOFSKY PDF
Views: Iconography Iconography, as a branch of art history, studies the identification, description, and the interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. A secondary meaning based on a non-standard translation of the Greek and Russian equivalent terms is the production or study of the religious images, called "icons", in the Byzantine and Orthodox Christian tradition see Icon. This usage, which many consider simply incorrect, is mostly found in works translated from languages such as Greek or Russian, with the correct term being "icon painting". In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures. The term is also used in many academic fields other than art history, for example semiotics and media studies, and in general usage, for the content of images, the typical depiction in images of a subject, and related senses. Sometimes distinctions have been made between iconology and iconography, although the definitions, and so the distinction made, varies.
Iconography vs. Iconology
While iconology corresponds to the historical criticism of texts in literary studies, iconography has no obvious counterpart outside histories of the visual. At the same time, in art historical practice iconography and iconology feed into each other, as the literature surveyed in this bibliography shows. General Overviews Panofsky is often criticized, but as a pioneering attempt to provide a philosophy of iconology it forms the starting point for later writers who differ from it Gombrich , Taylor Munich: C. Beck,
A reliable survey of European iconography from early Christianity to the 19th century, though the tone is inevitably brisk since iconoogy covers the subject in just three hundred pages. On itself, this stage attempts an exhaustive identification of potential images based on the correct interpretation of motifs which would perhaps be as easy to recognise as words, as long as the language is familiarbut nevertheless contains in itself the necessity of a critical awareness of context. Aubades pour une zoologie des imagesAix-en-Provence, Rouge profond,p. Iconography and Iconology What Panosksy wanted to do was to provide art history with a Kantian a priorito fix art historical methods in the realms of a universal or necessary judgment. Attacks the idea that humanist advisers were always at hand to tell Renaissance artists what they should be doing. Abingdon and New Yorkp. Consequently, the context is refined through the lenses of a personal Weltanshauung, which even if partially shared with other artists of the period, still 10 Feretti, p 11 Michael Ann Holly, Panofsky and the foundations of art history, Ithaca, N.
An iconological investigation should concentrate on the social-historical, not art-historical, influences and values that the artist might not have consciously brought into play but are nevertheless present. The artwork is primarily seen as a document of its time. The interpreter is aware of the essential tendencies of the human mind as conditioned by psychology and world view; he analyses the history of cultural symptoms or symbols, or how tendencies of the human mind were expressed by specific themes due to different historical conditions. Moreover, when understanding the work of art as a document of a specific civilization, or of a certain religious attitude therein, the work of art becomes a symptom of something else, which expresses itself in a variety of other symptoms. According to his view, iconology was not the actual investigation of the work of art but rather the result of this investigation.