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Journal articles on the topic 'Panofsky'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Avkiran, Melis. "Diffusion – Disjunktion – Distanz." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 64. Heft 1 64, no. 1 (2019): 111–24. http://dx.doi.org/10.28937/1000108297.

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Der vorliegende Beitrag setzt die Überlegungen eines Forschungsentwurfs fort, dessen erster Teil im Band 63/2 dieser Zeitschrift erschien. Die historische Formel des sog. ›Disjunktionsprinzps‹ entwickelt Panofsky u.a. in dem 1944 im Kenyon Review erschienenen Artikel Renaissance and Renascences. Die grundsätzliche Mobilität antiker Kulturelemente, die er seiner Formel zuschreibt, impliziert einen bei ihm bisher unbenannten kulturtheoretischen Zugang mit deutlicher Nähe zum ethnologischen Modell der Diffusion. Ausgehend davon entwirft Panofsky mittels einer kulturmorphologischen Vorgehensweise

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2

Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.

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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which depart

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3

Anderson, Alun. "Gorbachev thanks Panofsky." Nature 345, no. 6276 (1990): 564. http://dx.doi.org/10.1038/345564b0.

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4

Straten, Roelof Van. "Panofsky and ICONCLASS." Artibus et Historiae 7, no. 13 (1986): 165. http://dx.doi.org/10.2307/1483254.

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5

Lamoureux, Johanne. "La migration d’Erwin Panofsky." Perspective, no. 2 (December 1, 2014): 157–59. http://dx.doi.org/10.4000/perspective.5563.

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6

Easterbrook, David L. "Obituary: Hans E. Panofsky." African Research & Documentation 121 (2013): 67–68. http://dx.doi.org/10.1017/s0305862x00021956.

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7

Wood, Christopher S. "Panofsky in Munich, 1967." MLN 131, no. 5 (2016): 1236–57. http://dx.doi.org/10.1353/mln.2016.0088.

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8

Wirth, Jean. "« Essais d’iconologie » d’Erwin Panofsky." L'Histoire N° 492, no. 2 (2022): 91. http://dx.doi.org/10.3917/histo.492.0091.

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9

Santiago Júnior, Francisco das Chagas Fernandes. "A infelicidade era Panofsky." MODOS: Revista de História da Arte 8, no. 2 (2024): 106–43. http://dx.doi.org/10.20396/modos.v8i2.8673026.

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O objetivo deste texto é investigar a função do nome de Erwin Panofsky na obra de Georges Didi-Huberman entre os anos de 1986 e 2002. Ao longo dele, apresenta-se a obra de Didi-Huberman como um projeto de história-teoria da arte que se desenvolve, em parte, como uma história da historiografia da arte. Esta é atravessada por um dispositivo de paternidade como chave analítica que situa Panofsky como uma das personagens centrais. A obra de Didi-Huberman é marcada por um agon que localiza e se situa na geopolítica da história da arte. O artigo realiza uma análise das figuras e metáforas empregadas

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10

Kalina, Pavel. "MICHELANGELO, PYTHAGORAS, AND PANOFSKY." Source: Notes in the History of Art 24, no. 3 (2005): 38–42. http://dx.doi.org/10.1086/sou.24.3.23207939.

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11

Drell, Sidney D. "Wolfgang Kurt Hermann Panofsky." Physics Today 60, no. 12 (2007): 68–69. http://dx.doi.org/10.1063/1.2825080.

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12

Pasquali, Paul. "Quand Bourdieu découvrait Panofsky." Annales. Histoire, Sciences Sociales 78, no. 4 (2023): 699–732. http://dx.doi.org/10.1017/ahss.2024.2.

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Résumé Fondé sur des archives inédites et la relecture de divers textes publiés, cet article retrace la fabrique éditoriale d’, célèbre ouvrage d’Erwin Panofsky paru en français en 1967 aux éditions de Minuit, dans la collection de Pierre Bourdieu, qui l’a traduit, édité et postfacé. En examinant les conditions de possibilité de cette rencontre transatlantique et transdisciplinaire a priori improbable, survenue en 1966-1967, entre un jeune sociologue alors en début de carrière, établi à Paris, et un vieil historien mondialement connu résidant à Princeton, il vise à historiciser cette œuvre cla

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13

Putra, I. Dewa Alit Dwija, and Sarena Abdullah. "Iconological Analysis of the “Man on a Bicycle” Relief in North Bali Created During the Dutch Colonial Period | Analisis Ikonologi Karya Relief “Laki-laki di sebuah Sepeda” di Bali Utara Jaman colonial Belanda." SPAFA Journal 7 (December 19, 2023): 136–52. http://dx.doi.org/10.26721/spafajournal.a759ql83r8.

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Temple in North Bali. The relief was created around 1904, when North Bali was under Dutch colonial rule. It is the first relief created that deviates from Balinese society’s traditional art style. As with other works of art, there is a message and a particular purpose for the creation of this relief. This paper provides a more in-depth study of the relief by using the iconographic and iconological theory of Erwin Panofsky as a method for analysing relief works in relation to the social and cultural context of Balinese society during the colonial period. Panofsky’s three-stage iconographic anal

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14

Warnke, Martin. "Handel zwischen Hamann und Panofsky." Marburger Jahrbuch für Kunstwissenschaft 22 (1989): 251. http://dx.doi.org/10.2307/1348643.

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15

Wagner. "Peirce, Panofsky, and the Gothic." Transactions of the Charles S. Peirce Society 48, no. 4 (2012): 436. http://dx.doi.org/10.2979/trancharpeirsoc.48.4.436.

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16

Clément, Jean-François. "Erwin Panofsky, Galilée critique d’art." Questions de communication, no. 31 (September 1, 2017): 474–75. http://dx.doi.org/10.4000/questionsdecommunication.11256.

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17

Kidson, Peter. "Panofsky, Suger and St Denis." Journal of the Warburg and Courtauld Institutes 50 (1987): 1. http://dx.doi.org/10.2307/751314.

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18

Shin, Un-Chol. "Panofsky, Polanyi, and Intrinsic Meaning." Journal of Aesthetic Education 24, no. 4 (1990): 17. http://dx.doi.org/10.2307/3333104.

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19

Trapp, J. B. "The letters of Erwin Panofsky." International Journal of the Classical Tradition 11, no. 2 (2004): 280–92. http://dx.doi.org/10.1007/bf02720038.

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20

Corriveau, F., M. D. Hasinoff, D. F. Measday, J. M. Poutissou, and M. Salomon. "The Panofsky ratio in 3He." Nuclear Physics A 473, no. 4 (1987): 747–56. http://dx.doi.org/10.1016/0375-9474(87)90278-8.

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21

Csilla, Markója, and Balázs Kata. "A Tolnay–Panofsky-affér, avagy hűség az ifjúsághoz: A bécsi iskola, Max Dvořák és A Vasárnapi Kör." Művészettörténeti Értesítő 69, no. 2 (2021): 159–70. http://dx.doi.org/10.1556/080.2020.00010.

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The conflict between Charles de Tolnay and Erwin Panofsky that grew unprecedentedly acrimonious in the history of the discipline – the so-called Tolnay–Panofsky affair – was more than mere personal bickering. The documents clearly reveal that the “affair”, which basically affected financial and professional positions, was based on embarrassingly ordinary, occasionally petty-minded questions instead of scientific arguments, and led to a break of relationship probably in spring 1943, also directs the attention to the science political consequences of the hierarchic establishment of American scie

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22

Bałus, Wojciech. "Forma, „przedmiot dzieła”, Gestalt. Max Imdahl i Erwin Panofsky." Biuletyn Historii Sztuki 85, no. 4 (2023): 51–68. http://dx.doi.org/10.36744/bhs.1782.

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Max Imdahl uważał, że w metodzie ikonologicznej Erwin Panofsky nie poświęcił należytej uwagi problematyce formy artystycznej. Panofsky faktycznie nie dostrzegał „ikonicznego” poziomu dzieła sztuki, ale starał się uzasadnić nierozdzielność formy i subject matter, by udowodnić, że badania ikonograficzne są niezbywalnym elementem historii sztuki. Ta nierozdzielność charakteryzowała też typy ikonograficzne, określone terminem Gestalt. Ścisła odpowiedniość wszystkich elementów pozwalała na prawidłową percepcję dzieła, gdyż uruchamiała „symboliczną pregnancję”, sposób poznawania opisany przez psycho

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23

Machado, Hallhane. "Galileo as a Critic of the Arts." Transversal: International Journal for the Historiography of Science, no. 2 (June 28, 2017): 238. http://dx.doi.org/10.24117/2526-2270.2017.i2.22.

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24

Pinto, Matheus Gomes Reis. "Estilo e meio nas imagens em movimento." Cognitio-Estudos: revista eletrônica de filosofia 16, no. 1 (2019): 128–41. http://dx.doi.org/10.23925/1809-8428.2019v16i1p128-141.

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"Style and Medium in the Motion Pictures" é um ensaio de 1936 do historiador de arte Erwin Panofsky. No ensaio, Panofsky busca descrever os sintomas visuais endêmicos relativos meio cinematográfico. Originalmente apresentado como uma conversa informal, em 1934, a um grupo de estudantes da Universidade de Princeton no processo de fundação do arquivo de filmes do Museu de Arte Moderna de Nova York, o presente ensaio foi posteriormente publicado em forma revisada e expandida, em 1936, 1937, e 1947, e tem sido amplamente discutido desde então.

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25

Mermet, Rémi. "Cassirer et Panofsky : un malentendu philosophique." Labyrinth 22, no. 1 (2020): 56–78. http://dx.doi.org/10.25180/lj.v22i1.217.

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26

Drell, Sidney D. "Wolfgang K. H. Panofsky (1919–2007)." Nature 450, no. 7167 (2007): 182. http://dx.doi.org/10.1038/450182a.

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27

Hanssen, Beatrice. "Portrait of Melancholy (Benjamin, Warburg, Panofsky)." MLN 114, no. 5 (1999): 991–1013. http://dx.doi.org/10.1353/mln.1999.0067.

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28

HERWITZ, DANIEL. "Erwin Panofsky, Three Essays on Style." Journal of Aesthetics and Art Criticism 55, no. 1 (1997): 66–67. http://dx.doi.org/10.1111/1540_6245.jaac55.1.0066.

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29

Gaston, Robert W. "Erwin Panofsky and the classical tradition." International Journal of the Classical Tradition 4, no. 4 (1998): 613–23. http://dx.doi.org/10.1007/bf02689195.

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30

Reudenbach, Bruno. "Panofsky et Suger de Saint-Denis." Revue germanique internationale, no. 2 (July 1, 1994): 137–50. http://dx.doi.org/10.4000/rgi.462.

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31

Borges, Patricia Maria. "A Iconografia como metodologia de análise e leitura de obras." MOTRICIDADES: Revista da Sociedade de Pesquisa Qualitativa em Motricidade Humana 6, no. 3 (2022): 197–212. http://dx.doi.org/10.29181/2594-6463-2022-v6-n3-p197-212.

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A Iconografia como metodologia de análise e leitura de obras ResumoO objetivo deste artigo foi analisar e apresentar de forma didática o método iconográfico proposto por Erwin Panofsky e verificar a sua utilidade na aplicação concreta a uma obra de arte. O estudo iniciou com uma pesquisa resumida sobre as origens, características e evolução da iconografia e do método de análise iconológico, enumerando os principais antecedentes do estudo iconográfico; seguindo com a descrição das três categorias em que subdivide o método por ele desenvolvido. Visando exemplificar a aplicação do método, realiza

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32

Dymchenko, M., N. Brykova, and I. Lokonova. "Architectural form as a subject of cultural communication." E3S Web of Conferences 281 (2021): 02003. http://dx.doi.org/10.1051/e3sconf/202128102003.

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The aim of the article is to investigate the architectural form self-representation processes in the spatial experience of culture. Theoretical and methodological prism of the research is the semiotic concept of architecture of W. Eco and the concept of E. Panofsky correlating with it and explaining the nature of the Gothic architectural form evolution. The architectural reality self-definition problem in the context of the historical development of cultural and anthropological experience spatial codes is considered. On the basis of W. Eco’s semiotic concept of architecture we propose the visi

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33

Niu, Ningning. "Image Study of Titian's Discreet Fables under the Horizon of Panofsky's Iconography." International Journal of Education and Humanities 16, no. 1 (2024): 145–47. http://dx.doi.org/10.54097/hytzx630.

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Alvin Panofsky is known as the "father of modern iconography" and the founder of the western theory of "iconography" in the 20th century. The theory of art image built by him breaks through the single art analysis mode of formalist aesthetics and integrates into the research concept of humanistic art history, which makes art scholars begin to understand art works from the historical condition. His book "The Meaning of Visual Art" systematically expounds the study of iconography and iconography from the literature research of history, mythology, religion and literature. This paper takes Panofsk

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34

Méndez Baiges, María Teresa. "García Gómez, Francisco: El nacimiento de la Modernidad. Conceptos de arte del siglo XIX." Boletín de Arte, no. 28 (March 25, 2018): 735–38. http://dx.doi.org/10.24310/bolarte.2007.v0i28.4525.

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35

Montes Serrano, Carlos. "Et in Arcadia ego. Panosfski en perspectiva." Ra. Revista de Arquitectura 9 (May 10, 2018): 29–42. http://dx.doi.org/10.15581/014.9.25912.

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En el presente ensayo se analiza la biografía científica del célebre historiador del arte Erwin Panofsky, intentando evaluar su legado a la historia del arte y de la cultura a partir de los comentarios críticos, explícitos o implícitos, que nos ha dejado Ernst H. Gombrich en el conjunto de sus escritos. Por lo análogo de su trayectoria profesional, las relaciones con el Warburg Institute, los intereses comunes en el ámbito de estudio, la amistad y el reconocimiento mutuo que se tuvieron en vida, las opiniones y críticas de E. H. Gombrich son especialmente autorizadas y valiosas para juzgar, ya

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36

Landauer, Carl, and Michael Ann Holly. "Panofsky and the Foundations of Art History." Journal of Aesthetics and Art Criticism 44, no. 1 (1985): 82. http://dx.doi.org/10.2307/430543.

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37

Crowther, Paul, and Michael Ann Holly. "Panofsky and the Foundations of Art History." American Historical Review 91, no. 1 (1986): 87. http://dx.doi.org/10.2307/1867243.

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38

W. K. H., Panofsky. "W. K. H. Panofsky: We'll be sorry." Bulletin of the Atomic Scientists 56, no. 1 (2000): 47–50. http://dx.doi.org/10.2968/056001016.

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39

DEMİR, Nur Sena. "PANOFSKY ÖLÇEĞİNDE KARŞILAŞTIRMALI ADEM VE HAVVA İKONOGRAFİSİ." Akademi Sosyal Bilimler Dergisi 7, no. 21 (2020): 107–26. http://dx.doi.org/10.34189/asbd.7.21.007.

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40

Levi, Albert William. "Kunstgeschichte als Geistesgeschichte: The Lesson of Panofsky." Journal of Aesthetic Education 20, no. 4 (1986): 79. http://dx.doi.org/10.2307/3332605.

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41

Moxey, Keith P. F. "Perspective, Panofsky, and the Philosophy of History." New Literary History 26, no. 4 (1995): 775–86. http://dx.doi.org/10.1353/nlh.1995.0057.

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42

Smirnov, A. V. "Generalized Panofsky–Wenzel theorem and hybrid coupling." Nuclear Instruments and Methods in Physics Research Section A: Accelerators, Spectrometers, Detectors and Associated Equipment 469, no. 1 (2001): 21–23. http://dx.doi.org/10.1016/s0168-9002(01)00708-2.

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43

Salabert, Pere. "L’image et l’image peinte : Panofsky d’après Peirce." Recherches sémiotiques 33, no. 1-2-3 (2016): 153–63. http://dx.doi.org/10.7202/1035289ar.

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Que tirer de la sémiotique de Charles S. Peirce pour l’esthétique, entendue comme réflexion sur l’art? Cet article invite à trouver des liens entre la pensée du célèbre historien et théoricien de l’art Erwin Panofsky et la sémiotique peircéenne. Plus précisément on y examine comment l’interprétation de la trichotomie peircéenne qui assure le rapport du signe à son objet correspond à la tripartition panofskienne de l’idée, de la forme et du contenu dans sa recherche sur la compréhension des oeuvres d’art.

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44

Bann, Stephen, and Michael Ann Holly. "Panofsky and the Foundations of Art History." History and Theory 25, no. 2 (1986): 199. http://dx.doi.org/10.2307/2505307.

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45

Burke, Peter. "Panofsky and the foundations of art history." History of European Ideas 9, no. 2 (1988): 235. http://dx.doi.org/10.1016/0191-6599(88)90050-2.

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46

Rodríguez-Muñiz, Michael. "Book review: Aaron Panofsky (2014), Misbehaving Science: Controversy and the Development of Behavior Genetics." Science, Technology and Society 23, no. 2 (2018): 346–48. http://dx.doi.org/10.1177/0971721818762901.

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Aaron Panofsky (2014), Misbehaving Science: Controversy and the Development of Behavior Genetics. Chicago, IL: University of Chicago Press. 321 pp., $27.50 (Paperback), ISBN: 9780226058450. $89.00 (Hardcover), ISBN: 9780226058313.

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47

Loew, Gregory. "Book Review: "Panofsky on Physics, Politics, and Peace: Pief Remembers" by Wolfgang K. H. Panofsky and Sean Marie Deken." Reviews of Accelerator Science and Technology 01, no. 01 (2008): 319–29. http://dx.doi.org/10.1142/s1793626808000137.

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48

González García, José María. "Sociología e iconología." Revista Española de Investigaciones Sociológicas, no. 84 (February 28, 2024): 23–43. http://dx.doi.org/10.5477/cis/reis.84.23.

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La primera parte de este artículo narra las conflictivas relaciones entre sociología e iconología a lo largo de tres generaciones: al desencuentro entre socióplogos e iconólogos de la primera generación, representada, respectivamente, por Alfred Weber y Aby Warburg, sucede un período de mutua relación intelectual entre Karl Mannheim y Erwin Panofsky, mientras que en la tercera etapa -representada por Norbert Elias y los discípulos de Panofsky- se produce una situación de progresivo distanciamiento. En la segunda parte se desarrolla la idea de que la imagen es un "concepto para los ojos" y se r

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49

Grasman, Edward. "An Indispensable Eye for Art: Vitale Bloch." Studiolo 11, no. 1 (2014): 120–31. http://dx.doi.org/10.3406/studi.2014.959.

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Un occhio fondamentale per l’arte : Vitale Bloch. Sia Erwin Panofsky che Horst Gerson hanno portato all’attenzione dei musei i quadri appartenuti a Vitale Bloch. Panofsky deve aver avuto una qualche consapevolezza della personalità con cui aveva a che fare, mentre Gerson certamente sapeva. Bloch dimostrò non soltanto di avere un grande intuito per la qualità, ma anche per le imprese controverse, guadagnandosi il soprannome di Fatale Bloch. Concentrandosi sui suoi rapporti col Tramonto di Giorgione, l’articolo sviluppa un’ipotesi secondo cui, indipendentemente dalle discutibili attività impiega

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50

Ferretti, Silvia, and Richard Pierce. "Cassirer, Panofsky, and Warburg: Symbol, Art, and History." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 267. http://dx.doi.org/10.2307/431785.

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