Erwin Panofsky


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Panofsky, Erwin

 

Born Mar. 30, 1892, in Hanover; died Mar. 14, 1968, in Princeton, N.J. German-American art historian. Professor in Hamburg from 1926 to 1933 and at Princeton beginning in 1935.

Panofsky—influenced by the Vienna school of art studies (M. Dvořák, A. Riegl), as well as by the teachings of E. Cassirer on “symbolic forms”—together with A. Warburg and F. Saxl provided the foundation for the iconological approach to the study of works of art. Striving to overcome the one-sidedness of both the stylistic and the purely iconographic approaches, he proposed that a work of art be considered as a characteristic manifestation—a sign or “symptom”—of a cultural-historical situation, which is reflected not only in the choice of the subject but also in the artistic style. In his research, which was devoted mainly to medieval and Renaissance art, Panofsky analyzed peculiarities of form within the context of a philological and historical-philosophical interpretation of the content.

WORKS

Studies in Iconology. Oxford, 1939. New edition, New York [1962].
Meaning in the Visual Arts. Garden City, 1957.
Aufsätze zu Grundfragen der Kunstwissenschaft. Berlin, 1964.

REFERENCES

Libman, M. Ia. “Ikonologiia.” In the collection Sovremennoe iskusstvoznanie za rubezhom: Ocherki. Moscow, 1964. Pages 62–76.
Bialostocki, J. “Erwin Panofsky (1892–1968), myśliciel, historyk, człowiek.” In E. Panofsky, Studia z historii sztuki. Warsaw, 1971.
References in periodicals archive ?
Una vez definido lo fundamental de la tesis de Lakatos, se resenara y analizara el texto de Georges Didi-Huberman, sus criticas a la Historia del Arte como ciencia, al neokantismo de Erwin Panofsky y al metodo iconologico.
A theologically complex and iconographically original artist, this Flemish master has been identified by such diverse twentieth-century scholars as Moshe Barasch, Ruth Mellinkoff, Erwin Panofsky, and Leo Steinberg, all of whom were intrigued by the iconography of the human body, as the "arch creator of archetypes.
Canones de la hermeneutica Iconologia de Erwin Panofsky * Utilizar el procedimiento * El ciclo de formulacion de dialectico que va del significado analogias y postulados de la global de las partes y viceversa, iconologia posibilita llegar a la es decir, circulo hermeneutico.
En el campo de la ciencia de la percepcion otro estudioso del fenomeno visual fue el historiador Erwin Panofsky, hecho evidenciado al publicar en 1927, en la ciudad de Berlin, el libro La Perspectiva como forma simbolica.
En este caso, mas que polemica (dos no rinen si uno no quiere, y Panofsky se nego siempre a entrar en lid), tendriamos que hablar de una comparacion entre dos conocidos e influyentes ensayos academicos sobre los fundamentos artisticos del cine, cuya influencia ha sido penetrante y llega hasta nuestros dias: La obra de arte en la era de la reproducibilidad tecnica de Walter Benjamin (1982) y El estilo y el medio en la imagen cinematografica de Erwin Panofsky (2000).
Erwin Panofsky hypothesized an intimate connection throughout the history of science between the technologies of vision and the sciences of observation and descripuon.
Para explicar las diferentes formas de construir significados a traves de las artes visuales, Erwin Panofsky (1955) (1) -de quien Bourdieu retoma el concepto de habitus- usa el ejemplo de La ultima cena.
In 1926, Ernst Cassirer invited him to Hamburg to meet Aby Warburg and the scholars of the Warburg-Bibliotek fur Kulturwissenschaft, especially Fritz Saxl and Erwin Panofsky, with whom he would bring to completion forty years later the work on Saturn and Melancholy, which Saxl and Panofsky had initiated in 1923.
During its German years, the library attracted and supported the work of a variety of renowned scholars including Ernst Cassirer, Hans Liebeschutz, Erwin Panofsky, and Edgar Wind.
one or two senior art scholars provided a bad example--notably Erwin Panofsky (1892-1968), a polymath who often strayed from the artworks he was contemplating into distant recesses of philosophy and history.
In his essays on the problems of aesthetics, Erwin Panofsky (1892-1968), representative of art critics and historians at Princeton's Institute for Advanced Study, makes brief reference to "the famous Resurrection of Grunewald," (16) and Hayum draws a comparison between Grunewald's career and that of Leonardo in its diversity, combination of art and engineering or technology.