Three Essays On Style Pdf

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Born March 30, 1892(1892-03-30)
Hanover, Province of Hanover, Kingdom of Prussia
Died March 14, 1968(1968-03-14) (aged 75)
Princeton, New Jersey, United States
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Erwin Panofsky was a German art historian.

Works[edit]

Books[edit]

  • Idea: ein Beitrag zur Begriffsgeschichte der älteren Kunsttheorie, Leipzig/Berlin: Teubner, 1924; 2nd ed., rev., Berlin: Hessling, 1960. (German)
    • Idea: contributo alla storia dell'estetica, trans. Edmondo Cione, Firenze: La Nuova Italia, 1952, xxii+204 pp. (Italian)
    • Idea: A Concept in Art Theory, trans. Joseph J.S. Peake, University of South Carolina Press, 1968, xiii+268 pp; New York: Harper & Row, 1968. (English)
    • Ideea. Contribuţie la istoria teoriei artei, trans. Amelia Pavel and Serban Mironescu, Bucharest: Univers, 1975, 206 pp. Review(Romanian)
    • Idea. Contribución a la historia de la teoría del arte, trans. Maria Teresa Pumarega, Madrid: Catedra, 1989, 136 pp; new ed., 1998, 136 pp. (Spanish)
    • Idea: contribuição à história do conceito da antiga teoria da arte; a evolução do conceito de belo, trans. Paulo Neves, São Paulo: Martins Fontes, 1994, 259 pp; new ed., 2000, 259 pp. (Brazilian Portuguese)
    • Idea: Prilog povijesti pojma starije teorije umjetnosti, trans. Irena Martinović and Boris Nikšić, Zagreb: Golden marketing, 2002. (Croatian)
    • Idea. Příspěvek k historii pojmu starší teorie umění, Prague: Malvern, 2014. [1](Czech)
  • "Die Perspektive als 'symbolische Form'", in Vorträge der Bibliothek Warburg 1924-1925, Leipzig/Berlin: Teubner, 1927, pp 258-330; repr. in Panofsky, Aufsätze zu Grundfragen der Kunstwissenschaft, eds. Hariolf Oberer and Egon Verheyen, 1974; Berlin 1992, pp 99-167. (German)
    • La prospettiva come forma simbolica: e altri scritti, ed. Guido D. Neri, comm. Maria Dalai, Milan: Feltrinelli, 1961, 237 pp; 2nd ed., 1973; 3rd ed., 1976; 4th ed., 1979; 1982; 1983; 1991; 10th ed., 1994; 12th ed., 1997; 13th ed., 1999; 2007; 2013. (Italian)
    • La perspectiva como forma simbolica, trans. Virginia Careaga, Barcelona: Tusquets, 1973, 123 pp; 2nd ed., 1978; 3rd ed., 1980; 4th ed., 1983; 5th ed., 1985; 6th ed., 1990; 7th ed., 1995; 1999; 2003; 2008; 2010. (Spanish)
    • La perspective comme forme symbolique et autres essais. Précédés de la question perspective, trans. Guy Ballangé and Marisa Dalai Emiliani, Paris: Minuit, 1975, 273 pp; 1981; 1987; 1991; 2002. (French)
    • Perspective as Symbolic Form, trans. Christopher S. Wood, New York: Zone Books, 1991, 196 pp, PDF; 1997; 2002; 2005; 2009. Review: Gombrich (NYRB 1997). (English)
    • A perspectiva como forma simbólica, trans. Elisabete Nunes, Lisbon: Edições 70, 1993, 139 pp. (Portuguese)
    • Perspektivet som symbolisk form, trans. Sölve Olsson, Stockholm: B. Östlings bokförl. Symposion, 1994, 160 pp. (Swedish)
    • Perspektywa jako "forma symboliczna", trans. & intro. Grażyna Jurkowlaniec, Warsaw: Wydawnictwo Uniwersytetu Warszawskiego, 2008, 205 pp. (Polish)
  • Studies in Iconology: Humanistic Themes in the Art of the Renaissance, Oxford University Press, 1939; new ed., New York: Harper and Row, 1962; rev.ed., New York: Harper & Row, 1972, xliii+262 pp. The Mary Flexner Lectures, 1937. (English)
    • Essais d'iconologie, thèmes humanistes dans l'art de la Renaissance, trans. Claude Herbette and Bernard Teyssèdre, intro. & annot. Bernard Teyssèdre, Paris: Gallimard, 1967, 396 pp. (French)
    • Iconologie: thema's en symboliek bij de renaissanceschilders, trans. Casper de Jong, Utrecht: Het Spectrum, 1970, 316+96 pp. (Dutch)
    • Estudios sobre iconología, intro. Enrique Lafuente Ferrari, trans. Bernardo Fernández, Madrid: Alianza, 1971, xl+350 pp. (Spanish)
    • "Ikonografija i ikonologija: Uvod u proučavanje renesansne umjetnosti", trans. Žarko Domljan, Život umjetnosti 17, Zagreb, 1972, pp 67-79. Trans. of excerpt. (Serbo-Croatian)
    • Studi di iconologia: i temi umanistici nell'arte del Rinascimento, intro. Giovanni Previtali, trans. Renato Pedio, Torino: Einaudi, 1975, xxxii+387 pp. (Italian)
    • Ikonološke studije: humanističke teme u renesansnoj umetnosti, trans. Svetozar M Ignačević, Belgrade: Nolit, 1975, 284 pp. (Serbian)
    • Studien zur Ikonologie: humanistische Themen in der Kunst der Renaissance, Cologne: DuMont, 1980, 356 pp. (German)
    • Estudos de iconologia: temas na arte do renascimento, trans. Olinda Braga de Sousa, Lisbon: Estampa, 1986, 237 pp. (Portuguese)
    • Meletes eikonologias: oumanistika themata stēn Technē tēs Anagennēsēs, trans. Andreas Pappas, Athens: Nephelē, 1991, 427 pp. (Greek)
    • Ikonorojī kenkyū: Runesansu bijutsu ni okeru jimbun shugi no sho-tēma, trans. Tōru Asano, Tokyo: Bijutsu Shuppansha, 1993, xxii+374 pp. (Japanese)
    • Tosang haesŏkhak yŏn'gu: Rŭnesangsŭ misul esŏ ŭi Inmunjuŭijŏk chujedŭl, trans. Yi Han-sun, Seoul: Sigongsa, 2002, 535 pp. (Korean)
  • Albrecht Dürer, 2 vols., Princeton University Press, 1943; 2nd ed., rev., 1945; 3rd ed., 1948; 4th ed. as The Life and Art of Albrecht Dürer, 1955, xxxii+317+148 pp. (English)
  • Gothic Architecture and Scholasticism, Latrobe: Archabbley Press, 1951, xviii+108 pp, OL. Wimmer lecture, 1948. (English)
    • Architecture gothique et pensée scolastique. Précédé de L'abbé Suger de Saint-Denis, trans. & postf. Pierre Bourdieu, Paris: Minuit, 1967, 217+38 pp. (French)
    • Architettura gotica e filosofia scolastica, trans. & intro. Francesco Starace, Naples: Liguori, 1986, 103 pp. (Italian)
    • Arquitectura gótica y escolástica, trans. Enrique Revol, Buenos Aires: Infinito, 1959, 132 pp. (Spanish)
    • Arquitectura gotica y pensamiento escolastico, intro. Francisco Calvo Serraller, trans. Julia Varela and Fernando Alvarez-Uría, Madrid: La Piqueta, 1986, 140 pp. (Spanish)
    • Gotische Architektur und Scholastik: zur Analogie von Kunst, Philosophie und Theologie im Mittelalter, ed. & afterw. Thomas Frangenberg, trans. Helga Willinghöfer, Cologne: DuMont, 1989, 136+48 pp. (German)
    • Arquitetura gótica e escolástica: sobre a analogia entre arte, filosofia e teologia na Idade Média, ed. & postf. Thomas Frangenberg, trans. Wolf Hörnke, São Paulo: Martins Fontes, 1991, 132 pp. (Brazilian Portuguese)
    • Arhitectură gotică și gândire scolastică, trans. Marina Zavaca, Bucharest: Anastasia, 1999. (Romanian)
    • Goticheskata arkhitektura i skholasikata, trans. Todor Todorov, Sofia: Agata-A, 2002, 263 pp. (Bulgarian)
  • Early Netherlandish Painting: Its Origins and Character, 2 vols., Harvard University Press, 1953, OL. Charles Eliot Norton lectures, 1947-1948. [2](English)
    • Los primitivos flamencos, trans. Carmen Martínez Gimeno, Madrid: Cátedra, 1998, 593 pp. (Spanish)
  • Galileo as a Critic of the Arts, The Hague: Martinus Nijhoff, 1954, 41 pp; 2nd ed., Springer, 1956. (English)
    • Galileo critico delle arti, trans. Maria Cecilia Mazzi, Venezia: Cluva, 1985, 114 pp. (Italian)
    • Galilée, critique d'art, trans. & pref. Nathalie Heinich, Paris: Impressions nouvelles, 1992, 117 pp. With Attitude esthétique et pensée scientifique by Alexandre Koyré. (French)
    • Galileo Galilei und die Bildkünste, intro. Horst Bredekamp, trans. Heinz Jatho, Zürich: Diaphanes, 2012, 116 pp. (German)
  • Meaning in the Visual Arts: Papers in and on Art History, Garden City, NY: Doubleday, 1955, xviii+384+64 pp. (English)
    • L'oeuvre d'art et ses significations: essai sur les "arts visuels", trans. Bernard Teyssèdre and Marthe Teyssèdre, Paris: Gallimard, 1969, 327 pp. (French)
    • "Povijest umjetnosti kao humanistička disciplina", trans. Žarko Domljan, Život umjetnosti 13, Zagreb, 1971, pp 86-96. Trans. of excerpt. Introduction by Žarko Domljan. (Serbo-Croatian)
    • El significado en las artes visuales, trans. Nicanor Ancochea, Buenos Aires: Infinito, 1970, 301+72 pp; Madrid: Alianza Forma, 1979, 386 pp; 1987. (Spanish)
    • Artă şi semnificaţie, Ștefan Stoenescu, Bucharest: Meridiane, 1980, 441+72 pp. (Romanian)
    • Význam ve výtvarném umění, trans. Lubomír Konečný, afterw. Josef Krása, Prague: Odeon, 1981, 371 pp; 2nd ed., Prague: Malvern, 2013, 399+44 pp. [3](Czech)
    • A jelentés a vizuális művészetekben: tanulmányok, trans. Beke László, Budapest: Gondolat, 1984, 410 pp. (Hungarian)
    • Shi jue yi shu de han yi [视觉艺朮的含义], Shenyang Shi: Liaoning ren min chu ban she, 1987, 403+53 pp. (Chinese)
    • Significado das artes visuais, São Paulo: Perspectiva, 2009. (Brazilian Portuguese)
  • with Dora Panofsky, Pandora's Box: the Changing Aspects of a Mythical Symbol, New York: Pantheon Books, 1956, xiv+158 pp. (English)
    • La Caja de Pandora: aspectos cambiantes de un símbolo mítico, Barcelona: Barral, 1975, 224 pp. (Spanish)
    • La boîte de Pandore [les métamorphoses d'un symbole mythique, trans. Maud Sissung, Paris: Hazan, 1990, 156 pp; 2014. (French)
    • Die Büchse der Pandora. Bedeutungswandel eines mythischen Symbols, trans. & afterw. Peter D. Krumme, Frankfurt a.M.: Campus, 1992, 199 pp. (German)
    • Il vaso di Pandora: i mutamenti di un simbolo, Torino: Einaudi, 1992, xiv+170 pp. (Italian)
    • A caixa de Pandora: as transformações de um símbolo mítico, trans. Vera Pereira ; ed. Sergio Miceli, São Paulo: Companhia das Letras, 2009. (Brazilian Portuguese)
  • Renaissance and Renascences in Western Art, Westview Press, 1960. (English)
    • Rinascimento e rinascenze nell' arte occidentale, ed. Gregor Paulsson, trans. Maurizio Taddei, Milan: Feltrinelli, 1971, 271+52 pp. (Italian)
    • Renacimiento y renacimientos en el arte occidental, Madrid: Alianza, 1975, 338+103 pp. (Spanish)
    • La Renaissance et ses avants-courriers dans l'art d'Occident, trans. Laure Verron, Paris: Flammarion, 1976, 250 pp. (French)
    • Renessans i 'renessansy' v isskusstve zapada, trans. A.G. Gabrichevsky, Moscow: Iskusstvo, 1998, 362 pp. (Russian)
  • Tomb Sculpture: Four Lectures on its Changing Aspects from Ancient Egypt to Bernini, ed. H.W. Janson, New York: Harry N. Abrams, 1964, 319 pp, OL. (English)
    • La sculpture funéraire : de l'ancienne Égypte au Bernin, trans. Dennis Collins, Paris: Flammarion, 1995, 268 pp. (French)
  • with Raymond Klibansky and Fritz Saxl, Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art, London: Nelson, 1964, 429 pp; Nendeln: Kraus Reprint, 1979. (English)
    • Saturno e la melanconia: studi di storia della filosofia naturale, religione, arte, trans. Renzo Federici, Torino: Einaudi, 1983, xxv+401 pp. (Italian)
    • Saturne et la mélancolie: études historiques et philosophiques: nature, religion, médecine et art, Paris: Gallimard, 1989, 738 pp. (French)
    • Saturn und Melancholie: Studien zur Geschichte der Naturphilosophie und Medizin, der Religion und der Kunst, trans. Christa Buschendorf, Frankfurt am Main: Suhrkamp, 1990, 640+50 pp. (German)
    • Saturno y la melancolía : estudios de historia de la filosofía de la naturaleza, la religión y el arte, trans. María Luisa Balseiro, Madrid: Alianza, 1991, 427 pp. (Spanish)
    • Saturn şi melancolia: studii de filosofie a naturii, religie şi artă, trans. Miruna Tătaru-Cazaban, Bogdan Tătaru-Cazaban and Adela Văetişi, postf. Bogdan Tătaru-Cazaban, Iaşi: Polirom, 2002. (Romanian)
  • Problems in Titian, Mostly Iconographic, New York University Press, 1969, xv+208+134 pp; London: Phaidon, 1969. The Wrightsman lectures. (English)
  • Three Essays on Style, ed. Irving Lavin, MIT Press, 1995, 245 pp. Review: Gombrich (NYRB 1997). (English)

Selected articles[edit]

  • "Der Begriff des Kunstwollens", 1920; repr. in Aufsaetze zu Grundfragen der Kunstwissenschaft, Berlin, 1964. (German)
  • with Fritz Saxl, "Classical Mythology in Mediaeval Art", Metropolitan Museum Studies 4:2 (Mar 1933), pp 228-280.
  • "Style and Medium in the Motion Pictures" [1934], in Film: An Anthology, ed. Daniel Talbot, University of California Press, 1966, pp 15-32.
  • "Jan van Eyck's Arnolfini portrait", The Burlington Magazine for Connoisseurs, 1934.
  • "The Friedsam Annunciation and the Problem of the Ghent Altarpiece", The Art Bulletin, 1935.
  • "The Early History of Man in a Cycle of Paintings by Piero di Cosimo", Journal of the Warburg Institute, 1937.
  • "Galileo as a Critic of the Arts: Aesthetic Attitude and Scientific Thought", Isis 47:1 (Mar 1956), pp. 3-15.
  • with Ernest C. Hassold, "Wilhelm Voge: A Biographical Memoir", Art Journal 28 (1968).
  • "Erasmus and the Visual Arts", in: Journal of the Warburg and Courtauld Institutes 32 (1969), pp 200-227.
  • "Reflections on Historical Time", Critical Inquiry 30:4 (Summer 2004), pp 691-701.
  • "On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art", trans. Katharina Lorenz and Jas’ Elsner, Critical Inquiry 35:1 (Autumn 2008), pp 43-71.
  • "On the Problem of Describing and Interpreting Works of the Visual Arts", trans. Katharina Lorenz and Jas’ Elsner, Critical Inquiry 38:3 (Spring 2012), pp 467-482.

Bibliography[edit]

Literature[edit]

  • Michael Ann Holly, Panofsky and the Foundations of Art History, Cornell University Press, 1985. (English)
  • Roelof van Straten, Een inleiding in de iconografie: enige theoretische en praktische kennis, Muiderberg: Coutinho, 1985, 96 pp; rev.ed., 1991, 96 pp. (Dutch)
    • Einführung in die Ikonographie, trans. Rahel E. Feilchenfeldt, Berlin: Reimer, 1989, 165 pp; 3rd ed., rev., 2004, 169 pp. [5](German)
    • An Introduction to Iconography, trans. Patricia de Man, Langhorne, PA: Gordon and Breach, 1993, xv+151 pp. Trans. of 1991 rev.ed. Originally presented as the author's doctoral thesis at U Leiden. (English)
    • Uvod u ikonografiju : teoretske i praktičke upute, trans. Martina Wolf-Zubović and Maya de Graaf, Zagreb: Institut za povijest umjetnosti, 2003, 142 pp. (Croatian)
    • Uvod v ikonografijo: teoretični in praktični napotki, trans. Alenka Vodnik and Barbara Murovec, Ljubljana: Založba ZRC, ZRC SAZU, 2006, 143 pp. (Slovenian)
    • Introduzione all'iconografia, trans. Roberto Cassanelli, Milan: Jaca Book, 2009, 189 pp. (Italian)
  • Sylvia Ferretti, Cassirer, Panofsky, Warburg: Symbol, Art, and History, Yale University Press, 1989. (English)

Links[edit]

 

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