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, this unrivaled example of Panofsky's early method places him within broader developments in theories of knowledge and cultural change.

Here, drawing on a massive body of learning that ranges over ancient 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. He demonstrates how the perceptual schema of each historical culture or epoch is unique and how each gives rise to a different but equally full vision of the world.

Panofsky articulates these distinct spatial systems, explicating 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 inseparable from its peculiarly mathematical expression of the concept of the infinite, within a space that is both continuous and homogenous.

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 Dürer, 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.

In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This classic text presents the life, times, and works of Albrecht Dürer. Through the skill and immense knowledge of Erwin Panofsky, the reader is dazzled not only by Dürer the artist but also Dürer 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 Dürer 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 Dürer. 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 Dürer (1471-1528), the greatest exponent of northern European Renaissance art. Although an important painter, Dürer 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 Dürer'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 Dürer 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.

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.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.

This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.

Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Keine ausführliche Beschreibung für Dürers Kunsttheorie verfügbar.

In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies.

Panofskys Korrespondenz ist der unbekannte Teil seines Ouvres. Aus einer Sammlung von ca. 27.000 Briefen hat Dieter Wuttke in 22-jahriger, kulturwissenschaftlich fundierter Forschungsarbeit eine Auswahl von uber 3800 Briefen getroffen, die das Leben und Schaffen Panofskys widerspiegelt. Mit Band V und 852 neuen Texten kommt das Projekt an sein Ende. Der Einstein der Kunstgeschichte zeigt zwischen 1962 und dem Beginn seiner Krankheit zum Tode Mitte Dezember 1967 trotz zunehmender Altersbeschwerden und nagender Selbstzweifel eine weiterhin erstaunliche Schaffenskraft und Agilitat. Er verfasst zahlreiche Aufsatze, nimmt Vortragseinladungen an, berat nimmermude junge und alte Kolleginnen und Kollegen und bereitet sein letztes groaes Werk Problems in Titian. Mostly Iconographic vor. Saturn and Melancholy, eines der Kultbucher des 20. Jahrhunderts, das Panofsky bis 1938 am nachhaltigsten gefordert hatte, erblickt 1964 endlich das Licht der Offentlichkeit. Doch sind dies auch Jahre schwerer Erschutterungen. Politisch werfen die Kuba-Krise und die Ermordung John F. Kennedys Schatten auf sein Leben, personlich belastet ihn eine zunehmende Vereinsamung: erst der Verlust enger Freunde, dann besonders der Tod seiner Frau Dora. Er sehnt sich verzweifelt nach dem Austausch mit deutschen Freunden, empfindet das Fremde der englischen Sprache und die Fremdheit im Wesen der amerikanischen Freunde. Seine zweite Frau, die junge deutsche Kunsthistorikerin Gerda Soergel, eroffnet ihm neue Lebensfreude und damit wieder den Weg zur Musik fur Panofsky die Essenz des Lebens. Die Aufnahme in den Orden Pour le merite wird zum symbolischen Hohepunkt und zur Kadenz eines exzeptionellen Forscherlebens.

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 ver ffentlicht wurde es nie. Seit seiner Emigration 1934 galt es als verschollen. Nach seiner Wiederentdeckung im Zentralinstitut f r Kunstgeschichte in M nchen im Jahr 2012 wurde das Manuskript von Panofskys Witwe, der Kunsthistorikerin Gerda Panofsky, ediert. Die Habilitation Panofskys liegt nun erstmals in gedruckter Fassung vor, erg nzt durch eine Einf hrung der Herausgeberin und das Faksimile des kompletten, handschriftlich korrigierten und erg nzten Manuskriptes.

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.

Renaissance and Renascences in Western Art spans the period from the 10th to the 15th century, discussing the many reanscences that came before and led up to the Renaissance in the 14th century