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Erwin Panofsky

Erwin Panofsky (March 30, 1892 in Hannover – March 14, 1968 in Princeton, New Jersey)[1] was a German-Jewish art historian, whose academic career was pursued mostly in the U.S. after the rise of the Nazi regime.

Erwin Panofsky
Panofsky in the 1920s
Born(1892-03-30)March 30, 1892
Hannover, Germany
DiedMarch 14, 1968(1968-03-14) (aged 75)

Panofsky's work represents a high point in the modern academic study of iconography, which he used in hugely influential[2] works like his "little book" Renaissance and Renascences in Western Art and his masterpiece,[2] Early Netherlandish Painting.

Many of his works are still in print, including Studies in Iconology: Humanist Themes in the Art of the Renaissance (1939), Meaning in the Visual Arts (1955), and his 1943 study The Life and Art of Albrecht Dürer. Panofsky's ideas were also highly influential in intellectual history in general,[3] particularly in his use of historical ideas to interpret artworks and vice versa.

Biography

Panofsky was born in Hannover to a wealthy Jewish Silesian mining family. He grew up in Berlin, receiving his Abitur in 1910 at the Joachimsthalsches Gymnasium. In 1910–14 he studied law, philosophy, philology, and art history in Freiburg, Munich, and Berlin, where he heard lectures by the art historian Margarete Bieber, who was filling in for Georg Loeschcke.

While Panofsky was taking courses at Freiburg University, a slightly older student, Kurt Badt, took him to hear a lecture by the founder of the art history department, Wilhelm Vöge, under whom he wrote his dissertation in 1914. His topic, Dürer's artistic theory Dürers Kunsttheorie: vornehmlich in ihrem Verhaltnis zur Kunsttheorie der Italiener was published the following year in Berlin as Die Theoretische Kunstlehre Albrecht Dürers. Because of a horse-riding accident, Panofsky was exempted from military service during World War I, using the time to attend the seminars of the medievalist Adolph Goldschmidt in Berlin.

Panofsky's academic career in art history took him to the University of Berlin, University of Munich, and finally to University of Hamburg, where he taught from 1920 to 1933. It was during this period that his first major writings on art history began to appear. A significant early work was Idea: Ein Beitrag zur Begriffsgeschichte der älteren Kunstheorie (1924; translated into English as Idea: A Concept in Art Theory), based on the ideas of Ernst Cassirer.

Panofsky first came to the United States in 1931 to teach at New York University. Although initially allowed to spend alternate terms in Hamburg and New York City, after the Nazis came to power in Germany his appointment in Hamburg was terminated because he was Jewish, and he remained permanently in the United States with his art historian wife (since 1916), Dorothea "Dora" Mosse (1885–1965). He and his wife became part of the Kahler-Kreis.

By 1934 Panofsky was teaching concurrently at New York University and Princeton University, and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton, New Jersey, where he remained for the rest of his career.[4] In 1999, "Panofsky Lane", named in his honor, was created in the institute's faculty housing complex.[5]

Panofsky was a member of the American Academy of Arts and Sciences,[6] the American Philosophical Society,[7] the British Academy and a number of other national academies. In 1954 he became foreign member of the Royal Netherlands Academy of Arts and Sciences.[8] In 1962 he received the Haskins Medal of The Medieval Academy of America. In 1947–1948 Panofsky was the Charles Eliot Norton professor at Harvard University; the lectures later became Early Netherlandish Painting.

Panofsky became particularly well known for his studies of symbols and iconography in art. First in a 1934 article, then in his Early Netherlandish Painting (1953), Panofsky was the first to interpret Jan van Eyck's Arnolfini Portrait (1934) as not only a depiction of a wedding ceremony, but also a visual contract testifying to the act of marriage. Panofsky identifies a plethora of hidden symbols that all point to the sacrament of marriage. In recent years, this conclusion has been challenged, but Panofsky's work with what he called "hidden" or "disguised" symbolism is still very much influential in the study and understanding of Northern Renaissance art.

Similarly, in his monograph on Dürer, Panofsky gives lengthy "symbolic" analyses of the prints Knight, Death, and the Devil and Melancolia I, the former based on Erasmus's Handbook of a Christian Knight.

Panofsky was known to be a friend with physicists Wolfgang Pauli and Albert Einstein. His younger son, Wolfgang K. H. Panofsky, became a renowned physicist who specialized in particle accelerators. His elder son, Hans A. Panofsky, was "an atmospheric scientist who taught at Pennsylvania State University for 30 years and who was credited with several advances in the study of meteorology".[9] As Wolfgang Panofsky related, his father used to call his sons "meine beiden Klempner" ("my two plumbers"). William S. Heckscher was a student, fellow emigre, and close friend. In 1973 he was succeeded at Princeton by Irving Lavin. Erwin Panofsky has been recognized as both a "highly distinguished" professor at the Institute for Advanced Study, Princeton, New Jersey, and in Jeffrey Chipps' biography of the subject as "the most influential art historian of the twentieth century”.[10] In 1999, the new "Panofsky Lane", in that Institute's faculty housing complex, was named in his honor.[5]

Iconology

Panofsky was the most eminent representative of iconology, a method of studying the history of art created by Aby Warburg and his disciples, especially Fritz Saxl, at the Warburg Institute in Hamburg. A personal and professional friendship linked him to Fritz Saxl in collaboration with whom he produced a large part of his work. He gave a short and precise description of his method in his article "Iconography and Iconology", published in 1939.

Style and the Film Medium

In his 1936 essay "Style and Medium in the Motion Pictures (text online), Panofsky seeks to describe the visual symptoms endemic" to the medium of film.[11]

Three strata of subject matter or meaning

 
Panofsky made important contributions to the study of iconography, including his interpretation of Jan van Eyck's Arnolfini Portrait (1434, pictured).

In Studies in Iconology Panofsky details his idea of three levels of art-historical understanding:[12]

  • Primary or natural subject matter: The most basic level of understanding, this stratum consists of perception of the work's pure form. Take, for example, a painting of the Last Supper. If we stopped at this first stratum, such a picture could only be perceived as a painting of 13 men seated at a table. This first level is the most basic understanding of a work, devoid of any added cultural knowledge.
  • Secondary or conventional subject matter (iconography): This stratum goes a step further and brings to the equation cultural and iconographic knowledge. For example, a Western viewer would understand that the painting of 13 men around a table would represent the Last Supper. Similarly, a representation of a haloed man with a lion could be interpreted as a depiction of St. Mark.
  • Tertiary or intrinsic meaning or content (iconology): This level takes into account personal, technical, and cultural history into the understanding of a work. It looks at art not as an isolated incident, but as the product of a historical environment. Working in this stratum, the art historian can ask questions like “why did the artist choose to represent The Last Supper in this way?” or “Why was St. Mark such an important saint to the patron of this work?” Essentially, this last stratum is a synthesis; it is the art historian asking "what does it all mean?"

For Panofsky, it was important to consider all three strata as one examines Renaissance art. Irving Lavin says "it was this insistence on, and search for, meaning — especially in places where no one suspected there was any — that led Panofsky to understand art, as no previous historian had, as an intellectual endeavor on a par with the traditional liberal arts."[13]

Manuscript of Panofsky's Habilitationsschrift

In August 2012, the original manuscript of Panofsky's Habilitationsschrift of 1920, which is entitled "Die Gestaltungsprinzipien Michelangelos, besonders in ihrem Verhältnis zu denen Raffaels" ("The Composition Principles of Michelangelo, particularly in their relation to those of Raphael"), was found by art historian Stephan Klingen in an old Nazi safe in Munich's Zentralinstitut für Kunstgeschichte.[14][15][16]

It had long been assumed that this manuscript was lost in 1943/44 in Hamburg, as this important study was never published and the art historian's widow was unable to locate it in Hamburg. It seems as if art historian Ludwig Heinrich Heydenreich, who had studied under Panofsky, was in the possession of this manuscript from 1946 to 1970. In the Süddeutsche Zeitung, Willibald Sauerländer shed some light on the question of whether Heydenreich shared his recovery of the manuscript or not: "Panofsky has historically distanced himself from his early writings on Michelangelo, as he tired of the subject, and (according to Sauerländer) developed a professional conflict with Austro-Hungarian art historian Johannes Wilde, who accused Panofsky of not crediting him with ideas gleaned from a conversation they had about Michelangelo drawings. Perhaps Panofsky didn't care about the whereabouts of his lost work and Heydenreich was not malicious in keeping it a secret ... but questions still remain."[17]

In 2016 The Zentralinstitut für Kunstgeschichte in Munich founded the Panofsky-Professur (Panofsky Professorship). The first Panofsky Professors have been Victor Stoichita (2016), Gauvin Alexander Bailey (2017), Caroline van Eck (2018), and Olivier Bonfait (2019).[18]

Influence on Bourdieu

His work has greatly influenced the theory of taste developed by French sociologist Pierre Bourdieu, in books such as The Rules of Art and Distinction. In particular, Bourdieu first adapted his notion of habitus from Panofsky's Gothic Architecture and Scholasticism,[3][19] having earlier translated the work into French.

Works

  • Idea: A Concept in Art Theory (1924)[20]
  • Perspective as Symbolic Form (1927)[21]
  • Studies in Iconology (1939)[22]
  • The Life and Art of Albrecht Dürer (1943)[23]
  • (trans.) Abbot Suger on the Abbey Church of St.-Denis and its art treasures (1946).[24] Based on the Norman Wait Harris lectures delivered at Northwestern university in 1938.
  • Gothic Architecture and Scholasticism (1951)[25]
  • Early Netherlandish Painting: Its Origins and Character (1953).[26] Based on the 1947–48 Charles Eliot Norton Lectures.
  • Meaning in the Visual Arts (1955)[27]
  • Pandora's Box: the Changing Aspects of a Mythical Symbol (1956) (with Dora Panofsky)[28]
  • Renaissance and Renascences in Western Art (1960)[29]
  • Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini (1964)[30]
  • Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art (1964) (with Raymond Klibansky and Fritz Saxl)[31]
  • Problems in Titian, mostly iconographic (1969)[32]
  • Three Essays on Style (1995; ed. Irving Lavin):[33] "What Is Baroque?", "Style and Medium in the Motion Pictures", "The Ideological Antecedents of the Rolls-Royce Radiator". Intro. by Irving Lavin.
  • "The Mouse That Michelangelo Failed to Carve" (PDF) (Essays In Memory of Karl Lehmann ed.). N.Y.: Institute of Fine Arts, New York University. 1964: 242–255. {{cite journal}}: Cite journal requires |journal= (help)
  • Carmina Latina (2018; ed. with introduction and short annotations by Gereon Becht-Jördens)[34]

References

References
  1. ^ . arthistorians.info. Archived from the original on March 3, 2020. Retrieved March 25, 2016.
  2. ^ a b Shone, Richard and Stonard, John-Paul, eds. The Books that Shaped Art History, chapter 7. London: Thames & Hudson, 2013.
  3. ^ a b Chartier, Roger. Cultural History, pp. 23–24 (from "Intellectual History and the History of Mentalités"). Ithaca: Cornell University Press, 1988
  4. ^ "Erwin Panofsky" (PDF). Institute for Advanced Study. Retrieved January 25, 2017.
  5. ^ a b "Streets at the Institute". Institute for Advanced Study. Retrieved January 25, 2017.
  6. ^ "Erwin Panofsky". American Academy of Arts & Sciences. Retrieved 2023-04-14.
  7. ^ "APS Member History". search.amphilsoc.org. Retrieved 2023-04-14.
  8. ^ "Erwin Panofsky (1892–1968)". Royal Netherlands Academy of Arts and Sciences. Retrieved July 26, 2015.
  9. ^ "Hans A. Panofsky, 70, Scientist". New York Times. March 11, 1988. Retrieved January 25, 2017.
  10. ^ Jeffrey Chipps Smith, Introduction in Erwin Panofsky “The Life and Art of Albrecht Durer”, Princeton University Press, Princeton, 2005, p.XXVII)
  11. ^ Panofsky, Erwin; Lavin, Irving (1995). Three Essays on Style. Cambridge, Massachusetts: The MIT Press. pp. 3. ISBN 978-0262661034.
  12. ^ Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York: Harper & Row, 1972. pp. 5–9.
  13. ^ Lavin, Irving. "Panofsky's History of Art" in Meaning in the Visual Arts: Views from the Outside. Princeton: Institute for Advanced Study, 1995. p. 6.
  14. ^ Uta Nitschke-Joseph, "A Fortuitous Discovery: An Early Manuscript by Erwin Panofsky Reappears in Munich". Institute for Advanced Study (Spring 2013).
  15. ^ "Der Fund im Panzerschrank", Frankfurter Allgemeine Zeitung, August 31, 2012.
  16. ^ "Die jüngsten Funde haben unser Wissen bereichert", Frankfurter Allgemeine Zeitung, 31 August 2012.
  17. ^ artforum.com: International News Digest, September 26, 2012
  18. ^ "Panofsky Lecture — Zentralinstitut für Kunstgeschichte".
  19. ^ Review April 9, 2009, at the Wayback Machine of Holsinger, The Premodern Condition, in Bryn Mawr Review of Comparative Literature 6:1 (Winter 2007).
  20. ^ Panofsky, Erwin (1968). Idea: A Concept in Art Theory. Harper & Row. ISBN 9780064300490.
  21. ^ Panofsky, Erwin (1991). Perspective as Symbolic Form. Zone Books. ISBN 9780942299526.
  22. ^ Panofsky, Erwin (1972). Studies In Iconology: Humanistic Themes In The Art Of The Renaissance. Harper & Row. ISBN 9780786741885.
  23. ^ Panofsky, Erwin; Smith, Jeffrey Chipps (2005). The Life and Art of Albrecht Dürer. Princeton University Press. ISBN 9780691122762.
  24. ^ Panofsky, Erwin (1979). Abbot Suger on the Abbey Church of St.-Denis and Its Art Treasures. Princeton University Press. ISBN 9780691003146.
  25. ^ Panofsky, Erwin (1976). Gothic architecture and scholasticism. New American Library. ISBN 9780452005099.
  26. ^ Panofsky, Erwin (1953). Early Netherlandish Painting, Its Origins and Character: Text. Harvard University Press.
  27. ^ Panofsky, Erwin (1955). Meaning in the Visual Arts. Doubleday. ISBN 9780226645513.
  28. ^ Panofsky, Dora; Panofsky, Erwin (1956). Pandora's Box: The Changing Aspects of a Mythical Symbol. Pantheon Books. ISBN 9780691018249.
  29. ^ Panofsky, Erwin (1969). Renaissance and Renascences in Western Art. Westview Press. ISBN 0064300269.
  30. ^ Panofsky, Erwin; Janson, Horst Woldemar (1992). Tomb sculpture: four lectures on its changing aspects from ancient Egypt to Bernini. H.N. Abrams. ISBN 9780810938700.
  31. ^ Klinbansky, Raymond; Panofsky, Erwin; Saxl, Fritz (1964). Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art. Thomas Nelson and Sons.
  32. ^ Panofsky, Erwin (1969). Problems in Titian, mostly iconographic. New York University Press. ISBN 9780714813257.
  33. ^ Panofsky, Erwin; Heckscher, William S. (1997). Three Essays on Style. MIT Press. ISBN 9780262661034.
  34. ^ In: Gereon Becht-Jördens (Ed.): Ewig die Liebe allein. Erwin Panofskys, der sich auch Pan nennt, Lateinische Gedichte gesammelt, revidiert, berichtigt und mit einigen knappen Anmerkungen versehen. Mit Einleitung in lateinischer und deutscher Sprache sowie deutschen Versübertragungen. Königshausn & Neumann, ISBN 978-3-8260-6260-5
Sources
  • Holly, Michael Ann, Panofsky and the Foundations of Art History, Ithaca, Cornell University Press, (1985)
  • Ferretti, Sylvia, Cassirer, Panofsky, Warburg: Symbol, Art, and History, New Haven, Yale University Press, (1989)
  • Lavin, Irving, editor, Meaning in the Visual Arts: View from the Outside. A Centennial Commemoration of Erwin Panofsky (1892–1968), Princeton, Institute for Advanced Study, (1995)
  • Panofsky, Erwin, & Lavin, Irving (Ed.), Three essays on style, Cambridge, MA, MIT Press, (1995)
  • Panofsky, Erwin. 2020-03-03 at the Wayback Machine in the Dictionary of Art Historians, Lee Sorensen, ed.
  • Wuttke, Dieter (Ed.), Erwin Panofsky. Korrespondenz, Wiesbaden, Harrassowitz, (2001–2011)

External links

  • Works by Erwin Panofsky at Faded Page (Canada)
  • Petri Liukkonen. "Erwin Panofsky". Books and Writers
  • Erwin Panofsky Papers at the Smithsonian's Archives of American Art
  • Rainer Donandt, "Erwin Panofsky – Ikonologe und Anwalt der Vernunft"
  • Emmanuel Alloa, Could Perspective Ever Be A Symbolic Form. Revisiting Panofsky with Cassirer, in Journal of Aesthetics and Phenomenology 2.1 (2015)
  • Peter Barenboim. "The Mouse that Michelangelo Did Carve in the Medici Chapel: An Oriental Comment to the Famous Article of Erwin Panofsky". {{cite journal}}: Cite journal requires |journal= (help)
  • Panofsky Bibliography: The Major Works – Compiled by Joseph Connors
  • Daniel Sherer, “Panofsky on Architecture: Iconology and the Interpretation of Built Form,1915-1956,” History of Humanities 5, 1 (Spring 2020), 189–221; Panofsky on Architecture, Part II: Mental Habits, Disguised Symbolism, and the “Spell of Circularity," History of Humanities 5,2 (Fall, 2020), 345–66.

erwin, panofsky, panofsky, redirects, here, other, uses, panofsky, disambiguation, march, 1892, hannover, march, 1968, princeton, jersey, german, jewish, historian, whose, academic, career, pursued, mostly, after, rise, nazi, regime, panofsky, 1920sborn, 1892,. Panofsky redirects here For other uses see Panofsky disambiguation Erwin Panofsky March 30 1892 in Hannover March 14 1968 in Princeton New Jersey 1 was a German Jewish art historian whose academic career was pursued mostly in the U S after the rise of the Nazi regime Erwin PanofskyPanofsky in the 1920sBorn 1892 03 30 March 30 1892Hannover GermanyDiedMarch 14 1968 1968 03 14 aged 75 Princeton New Jersey USPanofsky s work represents a high point in the modern academic study of iconography which he used in hugely influential 2 works like his little book Renaissance and Renascences in Western Art and his masterpiece 2 Early Netherlandish Painting Many of his works are still in print including Studies in Iconology Humanist Themes in the Art of the Renaissance 1939 Meaning in the Visual Arts 1955 and his 1943 study The Life and Art of Albrecht Durer Panofsky s ideas were also highly influential in intellectual history in general 3 particularly in his use of historical ideas to interpret artworks and vice versa Contents 1 Biography 2 Iconology 2 1 Style and the Film Medium 2 2 Three strata of subject matter or meaning 3 Manuscript of Panofsky s Habilitationsschrift 4 Influence on Bourdieu 5 Works 6 References 7 External linksBiography EditThis article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Erwin Panofsky news newspapers books scholar JSTOR March 2020 Learn how and when to remove this template message Panofsky was born in Hannover to a wealthy Jewish Silesian mining family He grew up in Berlin receiving his Abitur in 1910 at the Joachimsthalsches Gymnasium In 1910 14 he studied law philosophy philology and art history in Freiburg Munich and Berlin where he heard lectures by the art historian Margarete Bieber who was filling in for Georg Loeschcke While Panofsky was taking courses at Freiburg University a slightly older student Kurt Badt took him to hear a lecture by the founder of the art history department Wilhelm Voge under whom he wrote his dissertation in 1914 His topic Durer s artistic theory Durers Kunsttheorie vornehmlich in ihrem Verhaltnis zur Kunsttheorie der Italiener was published the following year in Berlin as Die Theoretische Kunstlehre Albrecht Durers Because of a horse riding accident Panofsky was exempted from military service during World War I using the time to attend the seminars of the medievalist Adolph Goldschmidt in Berlin Panofsky s academic career in art history took him to the University of Berlin University of Munich and finally to University of Hamburg where he taught from 1920 to 1933 It was during this period that his first major writings on art history began to appear A significant early work was Idea Ein Beitrag zur Begriffsgeschichte der alteren Kunstheorie 1924 translated into English as Idea A Concept in Art Theory based on the ideas of Ernst Cassirer Panofsky first came to the United States in 1931 to teach at New York University Although initially allowed to spend alternate terms in Hamburg and New York City after the Nazis came to power in Germany his appointment in Hamburg was terminated because he was Jewish and he remained permanently in the United States with his art historian wife since 1916 Dorothea Dora Mosse 1885 1965 He and his wife became part of the Kahler Kreis By 1934 Panofsky was teaching concurrently at New York University and Princeton University and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton New Jersey where he remained for the rest of his career 4 In 1999 Panofsky Lane named in his honor was created in the institute s faculty housing complex 5 Panofsky was a member of the American Academy of Arts and Sciences 6 the American Philosophical Society 7 the British Academy and a number of other national academies In 1954 he became foreign member of the Royal Netherlands Academy of Arts and Sciences 8 In 1962 he received the Haskins Medal of The Medieval Academy of America In 1947 1948 Panofsky was the Charles Eliot Norton professor at Harvard University the lectures later became Early Netherlandish Painting Panofsky became particularly well known for his studies of symbols and iconography in art First in a 1934 article then in his Early Netherlandish Painting 1953 Panofsky was the first to interpret Jan van Eyck s Arnolfini Portrait 1934 as not only a depiction of a wedding ceremony but also a visual contract testifying to the act of marriage Panofsky identifies a plethora of hidden symbols that all point to the sacrament of marriage In recent years this conclusion has been challenged but Panofsky s work with what he called hidden or disguised symbolism is still very much influential in the study and understanding of Northern Renaissance art Similarly in his monograph on Durer Panofsky gives lengthy symbolic analyses of the prints Knight Death and the Devil and Melancolia I the former based on Erasmus s Handbook of a Christian Knight Panofsky was known to be a friend with physicists Wolfgang Pauli and Albert Einstein His younger son Wolfgang K H Panofsky became a renowned physicist who specialized in particle accelerators His elder son Hans A Panofsky was an atmospheric scientist who taught at Pennsylvania State University for 30 years and who was credited with several advances in the study of meteorology 9 As Wolfgang Panofsky related his father used to call his sons meine beiden Klempner my two plumbers William S Heckscher was a student fellow emigre and close friend In 1973 he was succeeded at Princeton by Irving Lavin Erwin Panofsky has been recognized as both a highly distinguished professor at the Institute for Advanced Study Princeton New Jersey and in Jeffrey Chipps biography of the subject as the most influential art historian of the twentieth century 10 In 1999 the new Panofsky Lane in that Institute s faculty housing complex was named in his honor 5 Iconology EditPanofsky was the most eminent representative of iconology a method of studying the history of art created by Aby Warburg and his disciples especially Fritz Saxl at the Warburg Institute in Hamburg A personal and professional friendship linked him to Fritz Saxl in collaboration with whom he produced a large part of his work He gave a short and precise description of his method in his article Iconography and Iconology published in 1939 Style and the Film Medium Edit In his 1936 essay Style and Medium in the Motion Pictures text online Panofsky seeks to describe the visual symptoms endemic to the medium of film 11 Three strata of subject matter or meaning Edit Panofsky made important contributions to the study of iconography including his interpretation of Jan van Eyck s Arnolfini Portrait 1434 pictured In Studies in Iconology Panofsky details his idea of three levels of art historical understanding 12 Primary or natural subject matter The most basic level of understanding this stratum consists of perception of the work s pure form Take for example a painting of the Last Supper If we stopped at this first stratum such a picture could only be perceived as a painting of 13 men seated at a table This first level is the most basic understanding of a work devoid of any added cultural knowledge Secondary or conventional subject matter iconography This stratum goes a step further and brings to the equation cultural and iconographic knowledge For example a Western viewer would understand that the painting of 13 men around a table would represent the Last Supper Similarly a representation of a haloed man with a lion could be interpreted as a depiction of St Mark Tertiary or intrinsic meaning or content iconology This level takes into account personal technical and cultural history into the understanding of a work It looks at art not as an isolated incident but as the product of a historical environment Working in this stratum the art historian can ask questions like why did the artist choose to represent The Last Supper in this way or Why was St Mark such an important saint to the patron of this work Essentially this last stratum is a synthesis it is the art historian asking what does it all mean For Panofsky it was important to consider all three strata as one examines Renaissance art Irving Lavin says it was this insistence on and search for meaning especially in places where no one suspected there was any that led Panofsky to understand art as no previous historian had as an intellectual endeavor on a par with the traditional liberal arts 13 Manuscript of Panofsky s Habilitationsschrift EditIn August 2012 the original manuscript of Panofsky s Habilitationsschrift of 1920 which is entitled Die Gestaltungsprinzipien Michelangelos besonders in ihrem Verhaltnis zu denen Raffaels The Composition Principles of Michelangelo particularly in their relation to those of Raphael was found by art historian Stephan Klingen in an old Nazi safe in Munich s Zentralinstitut fur Kunstgeschichte 14 15 16 It had long been assumed that this manuscript was lost in 1943 44 in Hamburg as this important study was never published and the art historian s widow was unable to locate it in Hamburg It seems as if art historian Ludwig Heinrich Heydenreich who had studied under Panofsky was in the possession of this manuscript from 1946 to 1970 In the Suddeutsche Zeitung Willibald Sauerlander shed some light on the question of whether Heydenreich shared his recovery of the manuscript or not Panofsky has historically distanced himself from his early writings on Michelangelo as he tired of the subject and according to Sauerlander developed a professional conflict with Austro Hungarian art historian Johannes Wilde who accused Panofsky of not crediting him with ideas gleaned from a conversation they had about Michelangelo drawings Perhaps Panofsky didn t care about the whereabouts of his lost work and Heydenreich was not malicious in keeping it a secret but questions still remain 17 In 2016 The Zentralinstitut fur Kunstgeschichte in Munich founded the Panofsky Professur Panofsky Professorship The first Panofsky Professors have been Victor Stoichita 2016 Gauvin Alexander Bailey 2017 Caroline van Eck 2018 and Olivier Bonfait 2019 18 Influence on Bourdieu EditHis work has greatly influenced the theory of taste developed by French sociologist Pierre Bourdieu in books such as The Rules of Art and Distinction In particular Bourdieu first adapted his notion of habitus from Panofsky s Gothic Architecture and Scholasticism 3 19 having earlier translated the work into French Works EditIdea A Concept in Art Theory 1924 20 Perspective as Symbolic Form 1927 21 Studies in Iconology 1939 22 The Life and Art of Albrecht Durer 1943 23 trans Abbot Suger on the Abbey Church of St Denis and its art treasures 1946 24 Based on the Norman Wait Harris lectures delivered at Northwestern university in 1938 Gothic Architecture and Scholasticism 1951 25 Early Netherlandish Painting Its Origins and Character 1953 26 Based on the 1947 48 Charles Eliot Norton Lectures Meaning in the Visual Arts 1955 27 Pandora s Box the Changing Aspects of a Mythical Symbol 1956 with Dora Panofsky 28 Renaissance and Renascences in Western Art 1960 29 Tomb Sculpture Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini 1964 30 Saturn and Melancholy Studies in the History of Natural Philosophy Religion and Art 1964 with Raymond Klibansky and Fritz Saxl 31 Problems in Titian mostly iconographic 1969 32 Three Essays on Style 1995 ed Irving Lavin 33 What Is Baroque Style and Medium in the Motion Pictures The Ideological Antecedents of the Rolls Royce Radiator Intro by Irving Lavin The Mouse That Michelangelo Failed to Carve PDF Essays In Memory of Karl Lehmann ed N Y Institute of Fine Arts New York University 1964 242 255 a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help Carmina Latina 2018 ed with introduction and short annotations by Gereon Becht Jordens 34 References EditReferences Erwin Panofsky Dictionary of Art Historians arthistorians info Archived from the original on March 3 2020 Retrieved March 25 2016 a b Shone Richard and Stonard John Paul eds The Books that Shaped Art History chapter 7 London Thames amp Hudson 2013 a b Chartier Roger Cultural History pp 23 24 from Intellectual History and the History of Mentalites Ithaca Cornell University Press 1988 Erwin Panofsky PDF Institute for Advanced Study Retrieved January 25 2017 a b Streets at the Institute Institute for Advanced Study Retrieved January 25 2017 Erwin Panofsky American Academy of Arts amp Sciences Retrieved 2023 04 14 APS Member History search amphilsoc org Retrieved 2023 04 14 Erwin Panofsky 1892 1968 Royal Netherlands Academy of Arts and Sciences Retrieved July 26 2015 Hans A Panofsky 70 Scientist New York Times March 11 1988 Retrieved January 25 2017 Jeffrey Chipps Smith Introduction in Erwin Panofsky The Life and Art of Albrecht Durer Princeton University Press Princeton 2005 p XXVII Panofsky Erwin Lavin Irving 1995 Three Essays on Style Cambridge Massachusetts The MIT Press pp 3 ISBN 978 0262661034 Panofsky Erwin Studies in Iconology Humanistic Themes in the Art of the Renaissance New York Harper amp Row 1972 pp 5 9 Lavin Irving Panofsky s History of Art in Meaning in the Visual Arts Views from the Outside Princeton Institute for Advanced Study 1995 p 6 Uta Nitschke Joseph A Fortuitous Discovery An Early Manuscript by Erwin Panofsky Reappears in Munich Institute for Advanced Study Spring 2013 Der Fund im Panzerschrank Frankfurter Allgemeine Zeitung August 31 2012 Die jungsten Funde haben unser Wissen bereichert Frankfurter Allgemeine Zeitung 31 August 2012 artforum com International News Digest September 26 2012 Panofsky Lecture Zentralinstitut fur Kunstgeschichte Review Archived April 9 2009 at the Wayback Machine of Holsinger The Premodern Condition in Bryn Mawr Review of Comparative Literature 6 1 Winter 2007 Panofsky Erwin 1968 Idea A Concept in Art Theory Harper amp Row ISBN 9780064300490 Panofsky Erwin 1991 Perspective as Symbolic Form Zone Books ISBN 9780942299526 Panofsky Erwin 1972 Studies In Iconology Humanistic Themes In The Art Of The Renaissance Harper amp Row ISBN 9780786741885 Panofsky Erwin Smith Jeffrey Chipps 2005 The Life and Art of Albrecht Durer Princeton University Press ISBN 9780691122762 Panofsky Erwin 1979 Abbot Suger on the Abbey Church of St Denis and Its Art Treasures Princeton University Press ISBN 9780691003146 Panofsky Erwin 1976 Gothic architecture and scholasticism New American Library ISBN 9780452005099 Panofsky Erwin 1953 Early Netherlandish Painting Its Origins and Character Text Harvard University Press Panofsky Erwin 1955 Meaning in the Visual Arts Doubleday ISBN 9780226645513 Panofsky Dora Panofsky Erwin 1956 Pandora s Box The Changing Aspects of a Mythical Symbol Pantheon Books ISBN 9780691018249 Panofsky Erwin 1969 Renaissance and Renascences in Western Art Westview Press ISBN 0064300269 Panofsky Erwin Janson Horst Woldemar 1992 Tomb sculpture four lectures on its changing aspects from ancient Egypt to Bernini H N Abrams ISBN 9780810938700 Klinbansky Raymond Panofsky Erwin Saxl Fritz 1964 Saturn and Melancholy Studies in the History of Natural Philosophy Religion and Art Thomas Nelson and Sons Panofsky Erwin 1969 Problems in Titian mostly iconographic New York University Press ISBN 9780714813257 Panofsky Erwin Heckscher William S 1997 Three Essays on Style MIT Press ISBN 9780262661034 In Gereon Becht Jordens Ed Ewig die Liebe allein Erwin Panofskys der sich auch Pan nennt Lateinische Gedichte gesammelt revidiert berichtigt und mit einigen knappen Anmerkungen versehen Mit Einleitung in lateinischer und deutscher Sprache sowie deutschen Versubertragungen Konigshausn amp Neumann ISBN 978 3 8260 6260 5 SourcesHolly Michael Ann Panofsky and the Foundations of Art History Ithaca Cornell University Press 1985 Ferretti Sylvia Cassirer Panofsky Warburg Symbol Art and History New Haven Yale University Press 1989 Lavin Irving editor Meaning in the Visual Arts View from the Outside A Centennial Commemoration of Erwin Panofsky 1892 1968 Princeton Institute for Advanced Study 1995 Panofsky Erwin amp Lavin Irving Ed Three essays on style Cambridge MA MIT Press 1995 Panofsky Erwin Archived 2020 03 03 at the Wayback Machine in the Dictionary of Art Historians Lee Sorensen ed Wuttke Dieter Ed Erwin Panofsky Korrespondenz Wiesbaden Harrassowitz 2001 2011 External links EditWorks by Erwin Panofsky at Faded Page Canada Petri Liukkonen Erwin Panofsky Books and Writers Erwin Panofsky Papers at the Smithsonian s Archives of American Art Rainer Donandt Erwin Panofsky Ikonologe und Anwalt der Vernunft Emmanuel Alloa Could Perspective Ever Be A Symbolic Form Revisiting Panofsky with Cassirer in Journal of Aesthetics and Phenomenology 2 1 2015 Peter Barenboim The Mouse that Michelangelo Did Carve in the Medici Chapel An Oriental Comment to the Famous Article of Erwin Panofsky a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help Panofsky Bibliography The Major Works Compiled by Joseph Connors Daniel Sherer Panofsky on Architecture Iconology and the Interpretation of Built Form 1915 1956 History of Humanities 5 1 Spring 2020 189 221 Panofsky on Architecture Part II Mental Habits Disguised Symbolism and the Spell of Circularity History of Humanities 5 2 Fall 2020 345 66 Retrieved from https en wikipedia org w index php title Erwin Panofsky amp oldid 1149802679, wikipedia, wiki, book, books, library,

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