Erwin Panofsky (1892–1968)
Autor(a) de Meaning in the Visual Arts
About the Author
Obras por Erwin Panofsky
Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion and Art (1964) 120 exemplares
Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini (1964) 53 exemplares
Codex Huygens and Leonardo da Vinci's art theory: the Pierpont Morgan Libray codex M. A. 1139 (1940) 3 exemplares
Style and Medium in the Motion Pictures 1 exemplar
Dürers kunsttheorie vornehmlich in ihrem verhältnis zur kunsttheorie der Italiener (1915) 1 exemplar
Studia z historii sztuki 1 exemplar
Galilée, critique d'art suivi de Attitude esthétique et pensée scientifique par Alexandre Koyré (2001) 1 exemplar
Worcester art museum annual — Autor — 1 exemplar
Associated Works
Abbot Suger on the Abbey Church of St. Denis and Its Art Treasures (1140) — Editor, algumas edições — 144 exemplares
Künstler, Kunsthistoriker, Museen. Beiträge zu einer kritischen Kunstgeschichte (1979) — Contribuidor — 3 exemplares
Nykyestetiikan ongelmia antologia 2 exemplares
Etiquetado
Conhecimento Comum
- Nome canónico
- Panofsky, Erwin
- Data de nascimento
- 1892-03-30
- Data de falecimento
- 1968-03-14
- Sexo
- male
- Nacionalidade
- Germany (birth)
USA - País (no mapa)
- USA
- Local de nascimento
- Hanover, Germany
- Local de falecimento
- Princeton, New Jersey, USA
- Causa da morte
- heart attack
- Locais de residência
- Princeton, New Jersey, USA
- Educação
- University of Berlin (law, art history, history, philosophy)
University of Munich (art history, history, philosophy)
University of Freiburg (art history, history, philosophy) (Dr. phil. 1914) - Ocupações
- art historian
professor - Relações
- Panofsky, Dora (wife)
Panofsky, Wolfgang (son)
Wind, Edgar (student)
Panofsky, Hans A. (son)
Kantorowicz, Ernst H. (colleague)
Goldschmidt, Adolph (teacher) (mostrar todos 7)
Vöge, Wilhelm (teacher) - Organizações
- German Academy for Language and Poetry
University of Hamburg
Princeton University
Institute for Advanced Study - Prémios e menções honrosas
- Haskins Medal of the Medieval Academy of America (1962)
Charles Eliot Norton professor at Harvard University (1947-1948)
Samuel Morse Professor of Fine Arts, New York University (1962)
American Philosophical Society (1943)
American Academy of Arts & Sciences (1948)
Corresponding Fellow, British Academy (1955) (mostrar todos 7)
Royal Netherlands Academy of Arts and Sciences (1954)
Fatal error: Call to undefined function isLitsy() in /var/www/html/inc_magicDB.php on line 425- Erwin Panofsky was born to a wealthy Jewish family in Hannover, Germany, and grew up in Berlin. From 1910 to 1914, he studied law, philosophy, history, and art history at the universities of Freiburg, Munich, and Berlin. He completed his doctorate in 1914 at the University of Freiburg with a dissertation on Dürer's artistic theory supervised by Wilhelm Vöge. It was published in book form the following year. Panofsky was exempted from military service during World War I because of a riding accident and used the time attend the seminars of medievalist Adolph Goldschmidt in Berlin. He taught art history at the University of Berlin, University of Munich, and finally at the University of Hamburg, where he was a professor from 1920 to 1933. It was during this period that his first major writings on art history began to appear, including Idea: A Concept in Art Theory (English translation, 1934). Prof. Panofsky first went to the USA in 1931 to teach at New York University. Although he initially spent alternate terms in Hamburg and New York City, after the Nazi regime came to power in Germany, Panofsky lost his position in Hamburg and remained permanently in the USA with his wife Dorothea "Dora" Mosse, also an art historian. The two became part of the so-called Kahler-Kreis (Kahler Circle) of Erich and Alice (Loewy) Kahler, who welcomed Jewish intellectual refugees from Europe at their home in Princeton, New Jersey. The group included Albert Einstein, Thomas Mann, Hetty Goldman, Ernst Kantorowicz, Kurt Gödel, and Ben Shahn. By 1934, Prof. Panofsky was teaching concurrently at NYU and Princeton University, and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton, where he remained for the rest of his career. Panofsky was elected a member of the American Academy of Arts and Sciences, the American Philosophical Society, the British Academy, and a number of other national academies. Prof. Panofsky was particularly well-known for his studies of the symbols and iconography in medieval and Renaissance art. For example, he was the first to interpret Jan van Eyck's 1434 Arnolfini Portrait as containing a plethora of hidden symbols pointing to the sacrament of marriage. Among his other major works in English were Studies in Iconology (1939); The Codex Huygens and Leonardo da Vinci's Art Theory (1940); Early Netherlandish Painting (2 volumes, 1953); and Meaning in the Visual Arts (1955), a collection of nine of his most important articles and essays.
Membros
Críticas
Listas
Prémios
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Associated Authors
Estatísticas
- Obras
- 42
- Also by
- 6
- Membros
- 3,196
- Popularidade
- #8,001
- Avaliação
- 4.1
- Críticas
- 14
- ISBN
- 222
- Línguas
- 18
- Marcado como favorito
- 10
Lo studio si estende, con straordinaria ricchezza di spunti e di idee, dalle soluzioni dell'antichità classica, improntate alla coeva concezione generale dello spazio, alla scoperta della prospettiva nel Rinascimento e alla sua vicenda nell'arte moderna, ove essa rivela il suo carattere sia di consolidamento e sistematizzazione del mondo esterno, sia di ampliamento della sfera dell'io. Ciò spiega come la concezione prospehica dello spazio sia stata combattuta per opposte ragioni: "se Platone già la condannava ai suoi cauti inizi perché deformava le 'vere misure' delle cose", l'Espressionismo invece evita la prospettiva "perché essa conferma e garantisce quel residuo di obiettività che persino l'Impressionismo aveva dovuto sottrarre alla volontà figurativa individuale, cioè lo spazio ridimensionale della realtà in quanto tale". Il saggio sulla prospettiva è seguito da un gruppo di scritti teorici, anch'essi risalenti agli anni tedeschi, in cui Panofsky sviluppa una coerente polemica contro lo psicologismo e il formalismo che minano la sfera del significato artistico.… (mais)