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Renaissance and Renascences in Western Art spans the period from
the 10th to the 15th century, including discussion of the
Carolingian renaissance and the 12th century proto-renaissance.
Erwin Panofsky posits that there were "reanscences" prior to the
widely known Renaissance that began in Italy in the 14th century.
Whereas earlier renascences can be classified as revivals, the
Renaissance was a unique instance that led to a wider cultural
transformation.
In Studies in Iconology, the themes and concepts of Renaissance art
are analysed and related to both classical and medieval tendencies.
The first English translation of Erwin Panofsky's long-lost work on
Michelangelo In 2012, a manuscript by renowned art historian Erwin
Panofsky was rediscovered in a safe in Munich, in the basement of
the Central Institute for Art History. Hidden for decades among
folders and administrative files was Panofsky's thesis on
Michelangelo-originally submitted to Hamburg University in March of
1920, abandoned when Panofsky fled Hitler's Germany in 1934, and
thought to have been destroyed in the Allied bombings. A century
on, Michelangelo's Design Principles makes this remarkable work
available for the first time in English. Casting Panofsky's thought
in an entirely new light, Michelangelo's Design Principles is the
legendary scholar's only book-length examination of the art of the
Italian Renaissance. He provides a compelling analysis of
Michelangelo's artistic style and deftly compares it with that of
Raphael, situating both Renaissance masters in the broader context
of Western art. This illuminating book offers unique perspectives
on Panofsky's early intellectual development and the state of
research on Michelangelo and the High Renaissance at a period of
transition in art history, when formalist readings of artworks
began to take precedence over a biographical approach. Featuring an
introduction by Gerda Panofsky that discusses the history of the
manuscript and the significance of its rediscovery, Michelangelo's
Design Principles is a crucial link between Panofsky's formalist
training as a young art historian and his later work in iconology.
Erwin Panofsky's Perspective as Symbolic Form is one of the
great works of modern intellectual history, the legendary text that
has dominated all art historical and philosophical discussions on
the topic of perspective in this century. Finally available in
English, it is an unrivaled example of Panofsky's early method that
placed him within broader developments in theories of knowledge and
cultural change. Here, drawing on a massive body of learning that
ranges over Antique philosophy, theology, science, and optics as
well as the history of art, Panofsky produces a type of
"archaeology" of Western representation that far surpasses the
usual scope of art historical studies.Perspective in Panofsky's
hands becomes a central component of a Western "will to form," the
expression of a schema linking the social, cognitive,
psychological, and especially technical practices of a given
culture into harmonious and integrated wholes. Yet the perceptual
schema of each historical culture or epoch is different, and each
gives rise to a different but equally full vision of the world.
Panofsky articulates these different spatial systems, demonstrating
their particular coherence and compatibility with the modes of
knowledge, belief, and exchange that characterized the cultures in
which they arose. Our own modernity, Panofsky shows, is
characterized by its peculiarly mathematical expression of the
concept of the infinite, within a space that is necessarily both
continuous and homogeneous.
In Studies in Iconology, the themes and concepts of Renaissance art
are analysed and related to both classical and medieval tendencies.
"Renaissance and Renascences in Western Art "spans the period from
the 10th to the 15th century, including discussion of the
Carolingian renaissance and the 12th century proto-renaissance.
Erwin Panofsky posits that there were "reanscences" prior to the
widely known Renaissance that began in Italy in the 14th century.
Whereas earlier renascences can be classified as revivals, the
Renaissance was a unique instance that led to a wider cultural
transformation.
Pandora waas the "pagan Eve," and she is one of the rare
mythological figures to have retained vitality up to our day.
Glorified by Calderon, Voltaire, and Goethe, she is familiar to all
of us, and "Pandora's box" is a household word. In this classic
study Dora and Erwin Panofsky trace the history of Pandora and of
Pandora's box in European literature and art from Roman times to
the present. Originally published in 1962. The Princeton Legacy
Library uses the latest print-on-demand technology to again make
available previously out-of-print books from the distinguished
backlist of Princeton University Press. These editions preserve the
original texts of these important books while presenting them in
durable paperback and hardcover editions. The goal of the Princeton
Legacy Library is to vastly increase access to the rich scholarly
heritage found in the thousands of books published by Princeton
University Press since its founding in 1905.
Pandora waas the "pagan Eve," and she is one of the rare
mythological figures to have retained vitality up to our day.
Glorified by Calderon, Voltaire, and Goethe, she is familiar to all
of us, and "Pandora's box" is a household word. In this classic
study Dora and Erwin Panofsky trace the history of Pandora and of
Pandora's box in European literature and art from Roman times to
the present. Originally published in 1962. The Princeton Legacy
Library uses the latest print-on-demand technology to again make
available previously out-of-print books from the distinguished
backlist of Princeton University Press. These editions preserve the
original texts of these important books while presenting them in
durable paperback and hardcover editions. The goal of the Princeton
Legacy Library is to vastly increase access to the rich scholarly
heritage found in the thousands of books published by Princeton
University Press since its founding in 1905.
This classic text presents the life, times, and works of
Albrecht Durer. Through the skill and immense knowledge of Erwin
Panofsky, the reader is dazzled not only by Durer the artist but
also Durer in a wide array of other roles, including mathematician
and scientific thinker. Originally published in 1943 in two
volumes, "The Life and Art of Albrecht Durer" met with such wide
popular and scholarly acclaim that it led to three editions and
then, in 1955, to the first one-volume edition. Without sacrifice
of text or illustrations, the book was reduced to this single
volume by the omission of the "Handlist" and "Concordance." The new
introduction by Jeffrey Chipps Smith reflects upon Panofsky the
man, the tumultuous circumstances surrounding the creation of his
masterful monograph, its innovative contents, and its early
critical reception. Erwin Panofsky was one of the most important
art historians of the twentieth century. Panofsky taught for many
years at Hamburg University but was forced by the Nazis to leave
Germany. He joined the faculty at the Institute for Advanced Study
in 1935, where he spent the remainder of his career and wrote The
"Life and Art of Albrecht Durer." He developed an iconographic
approach to art and interpreted works through an analysis of
symbolism, history, and social factors.
This book, one of his most important, is a comprehensive study
of painter and printmaker Albrecht Durer (1471-1528), the greatest
exponent of northern European Renaissance art. Although an
important painter, Durer was most renowned for his graphic works.
Artists across Europe admired and copied his innovative and
powerful prints, ranging from religious and mythological scenes to
maps and exotic animals. The book covers Durer's entire career in
exacting detail. With multiple indexes and more than three hundred
illustrations, it has served as an indispensable reference,
remaining crucial to an understanding of the work of the great
artist and printmaker. Subsequent Durer studies have necessarily
made reference to Panofsky's masterpiece. Panofsky's work continues
to be admired for the author's immense erudition, subtlety of
appreciation, technical knowledge, and profound analyses."
This revised edition incorporates the additions and corrections
recorded by Erwin Panofsky until the time of his death in 1968.
Gerda Panofsky-Soergel has updated the commentary in the light of
new material, and the bibliography that she has prepared reflects
the scholarship on St.-Denis in the last three decades. She has
obtained some additional and more recent photographs, and the
illustrations include a new ground plan and a new section of the
chevet of the Abbey Church, both drawn under the supervision of
Sumner McKnight Crosby.
Since its original publication, Erwin Panofsky's "Meaning in the
Visual Arts" has been standard reading for students of art history.
It is both an introduction to the study of art and, for those with
more specialized interests, a profound discussion of art and life
in the Middle Ages and Renaissance. Panofsky's historical technique
reveals an abundance of detail, detail he skillfully relates to the
life and work of individual painters and their times.
The papers in this volume represent a cross-section of Panofsky's
major work. Included are selections from his well-known "Studies in
Iconology" and "The Life and Art of Albrecht Durer," plus an
introduction and an epilogue--"The History of Art as a Humanistic
Discipline" and "Three Decades of Art History in the United States:
Impressions of a Transplanted European"--as well as pieces written
especially for this collection. All display Panofsky's vast
erudition and deep commitment to a humanistic conception of art and
art history.
Saturn and Melancholy remains an iconic text in art history,
intellectual history, and the study of culture, despite being long
out of print in English. Rooted in the tradition established by Aby
Warburg and the Warburg Library, this book has deeply influenced
understandings of the interrelations between the humanities
disciplines since its first publication in English in 1964. This
new edition makes the original English text available for the first
time in decades. Saturn and Melancholy offers an unparalleled
inquiry into the origin and development of the philosophical and
medical theories on which the ancient conception of the
temperaments was based and discusses their connections to
astrological and religious ideas. It also traces representations of
melancholy in literature and the arts up to the sixteenth century,
culminating in a landmark analysis of Dürer's most famous
engraving, Melencolia I. This edition features Raymond Klibansky's
additional introduction and bibliographical amendments for the
German edition, as well as translations of source material and 155
original illustrations. An essay on the complex publication history
of this pathbreaking project - which almost did not see the light
of day - covers more than eighty years, including its more recent
heritage. Making new a classic book that has been out of print for
over four decades, this expanded edition presents fresh insights
about Saturn and Melancholy and its legacy as a precursor to modern
interdisciplinary studies.
Die wiederentdeckte Habilitation Erwin Panofskys 1920 reichte Erwin
Panofsky, einer der einflussreichsten Kunsthistoriker des 20.
Jahrhunderts, in Hamburg seine Habilitationsschrift zu Michelangelo
ein. In den folgenden Jahren arbeitete Panofsky stetig an dem
Manuskript weiter, doch veroeffentlicht wurde es nie. Seit seiner
Emigration 1934 galt es als verschollen. Nach seiner
Wiederentdeckung im Zentralinstitut fur Kunstgeschichte in Munchen
im Jahr 2012 wurde das Manuskript von Panofskys Witwe, der
Kunsthistorikerin Gerda Panofsky, ediert. Die Habilitation
Panofskys liegt nun erstmals in gedruckter Fassung vor, erganzt
durch eine Einfuhrung der Herausgeberin und das Faksimile des
kompletten, handschriftlich korrigierten und erganzten
Manuskriptes.
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