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 editi...

Muovendo da un’indagine sistematica sui canoni e i principi d’autorita classico-rinascimentali – la prospettiva, le proporzioni, l’idea – Panofsky ripercorre qui la vicenda delle diverse risposte date all’eterna questione del rapporto tra soggettoe oggetto dell’opera d’arte. Sulla scorta di un imponente apparato documentario, egli mostra come l’iconoclastia platonica lasci il posto alla valorizzazione medievale dell’immagine quale specchio della Bellezza divina, e come il Rinascimen...

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 philosop...

Publié en 1924, La sculpture allemande du xie au xiiie siècle d’Erwin Panofsky appartient à un genre qui connaît alors un grand succès : abondamment illustré de grandes planches, l’ouvrage est destiné à un public cultivé, certes, mais pas nécessairement savant. Le texte doit éclairer le lecteur et décrire avec suffisamment de précision les œuvres reproduites afin de leur assigner une localisation dans le temps et l’espace. Débordant quelque peu ce cahier des charges éditorial, Panofsky se ...

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.

Who the Hell is Erwin Panofsky? looks not only at Panofsky the person, but also at a defining moment in art history – where one man brought together several existing approaches to evaluating art and added powerful new ones of his own. This book brings the man and his times to life, before deciphering is complex ideas in a fresh, highly accessible way.

Bienvenue dans la collection Les Fiches de lecture d’UniversalisIl n’est sans doute pas d’œuvre, dans l’histoire de l’art au XXe siècle, dont l’ampleur soit comparable à celle d’Erwin Panofsky (1892-1868).Une fiche de lecture spécialement conçue pour le numérique, pour tout savoir sur L'Oeuvre d'art et ses significations. Essais sur les « arts visuels » d'Erwin PanofskyChaque fiche de lecture présente une œuvre clé de la li...

Erwin Panofsky’s Meaning in the Visual Arts is considered a key work in art history. Its ideas have provoked widespread debate, and although it was first published more than sixty years ago, it continues to feature regularly on numerous university reading lists.Meaning in the Visual Arts comprises nine essays. In these, Panofsky argues for the independence of iconology as a branch of history. He moves on to demonstrate the anatomy of art and its study, as well as ...

Le livre se compose de deux parties bien distinctes, la première, consacrée au motif du signum triciput (la forme tricéphale), la seconde à celui de l'Hercules prodicius (Hercule à la croisée des chemins), deux parties étroitement liées entre elles par des présupposés et des objectifs méthodologiques communs. Parmi ceux-ci, le lien indéfectible du texte et de l'image, de la tradition figurative et de la tradition écrite.