Erwin Panofsky

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Erwin Panofsky (born March 30, 1892 in Hanover ; died March 14, 1968 in Princeton , New Jersey , USA ) is one of the most important art historians of the 20th century and one of the founders of iconology .

Life

Erwin "Pan" Panofsky on his mother's side came from a Jewish-German merchant and banker family that had lived in Hanover for more than 100 years, and his father's side of a Jewish-German entrepreneurial and merchant family based in Silesia . He was the eldest son of the businessman Arnold Panofsky from Tarnowitz ( Upper Silesia ) and the Hanoverian citizen daughter Cäcilie Solling. From 1891–1894 the family lived at Herrenstrasse 11 in Hanover (Erwin Panofsky's birthplace), 1895/96 at Langen Laube 46, 1897–1902 at Heinrichstrasse 32. His uncle owned the banking house Carl Solling & Co. in Hanover. Panofsky first attended the Kaiser-Wilhelm-Gymnasium in Hanover for a short time , then from 1902 the renowned Joachimsthalsche Gymnasium in Berlin , where the father had moved with the family after retiring from working life.

From the summer semester of 1910, Panofsky first studied law , then art history, history and philosophy at the Universities of Freiburg , Munich and Berlin under Heinrich Wölfflin , Edmund Hildebrandt , Werner Weisbach and Adolph Goldschmidt . On July 18, 1914, he was given a dissertation on Albrecht Dürer's theoretical art theory (Dürer's aesthetics) under this title as a partial print from Wilhelm Vöge , who had once motivated him to give up his first subject, law, through his Dürer lecture published by Georg Reimer Berlin, doing his doctorate after winning the first prize of the Grimm Foundation for a more extensive work on the same topic . In August of the same year, he volunteered for military service, but was temporarily released from service because of a hernia . He continued studying in Berlin and published his dissertation entitled Dürer's Art Theory, primarily in its relationship to the Italian art theory. In 1920 he submitted his habilitation thesis to the University of Hamburg , where Gustav Pauli was one of his sponsors, and began to teach as a private lecturer .

Memorial plaque in memory of Erwin Panofsky and the art history seminar he directed in the southern extension of the art gallery

In June 1921 he was appointed head of the seminar with an examination permit, and it was not until 1927 that he became a full professor. He taught and researched in Hamburg, supported by the unique research instrument of the Warburg library for cultural studies, in close cooperation with its director Fritz Saxl , until he was dismissed after the National Socialist takeover in 1933 on the basis of the law to restore the civil service . He then emigrated to the USA, where he had already held a visiting professorship at New York University in 1931/1932 .

Already at that time, he had first come into contact with Princeton (New Jersey) , his later place of residence and research location, as he had been invited to a lecture and a doctoral colloquium at Princeton University . During a second visit to New York, he received news of his impending release in Germany. In order to prepare for his emigration and for three of his students there to obtain a doctorate, he initially returned to Hamburg for a short time. When he received a further visiting professorship for three semesters at New York University in 1934, which was supplemented by a teaching position at Princeton University, his existence in exile was for the time being assured. But soon he was offered a position at the newly founded Institute for Advanced Study in Princeton (New Jersey), which he accepted in 1935. His professional position in the USA was now finally solidified, which allowed him to turn down a call to the University of Chicago as well as the rival from New York University.

During his many years of teaching and research in the USA, Panofsky made a significant contribution to the development of the discipline that was still in its infancy there. However, he got on the defensive in the Vir Heroicus controversy in relation to the new fashion trend of Abstract Expressionism . After the February 1951 issue of the magazine had presented a large-format red, abstract painting by Barnett Newman with the somewhat pompous title Vir Heroicus Sublimus , Panofsky wrote to ART News, a critical letter to the editor who criticized the Latin ending sublimus (instead of sublimis ), which in his opinion was incorrect . This led to a letter to the editor controversy with Newman, who, with the help of his friend Meyer Schapiro , was able to prove that sublimus is indeed verifiable as a subsidiary form of sublimis , which of course is due to the fact that it is a mistake in view of the extreme rarity of this phenomenon acted, changed nothing and in so far did not constitute a serious objection to Panofsky's criticism. However, Panofsky should have recognized from the fact that the mistake made in the caption had not been repeated in the text of the article that this was a simple typographical error and not, as he assumed, a Latin mistake caused by a lack of language skills . In truth, however, it was not about correct or incorrect Latin and printing errors, but about the importance of historical, literary and linguistic education for art and art history on the one hand and the discrediting of Panofsky as a scientist and above all as an art expert on the other in his letter to the editor, he frankly admitted his difficulties with the appreciation of modern art ("I find it increasingly hard to keep up with contemporary art"). The “common desire for art expresses itself in controversial figures: with Panofsky in descriptive adherence to modern decorum, the 'beautiful'; with Newman in the artistic renewal of the 'sublime'. "

Since his emigration, Panofsky has published in English and adapted to the lower educational requirements of his new audience through a catchy style of language and the publication of overview presentations. The preoccupation with methodological questions took a back seat. After his retirement in 1962, Panofsky was appointed Samuel Morse Professor of Fine Arts at NYU. After the death of his first wife Dora, Panofsky married the art historian Gerda Soergel in 1966 .

When Panofsky emigrated , it was possible to ship important parts of his personal belongings "to furniture and other heirlooms", the inventory of "the Hamburg private apartment at 34 Alte Rabenstrasse", to the USA. But Panofsky's post-doctoral thesis The Gestaltungsprincipien Michelangelo , especially in its relationship to Raphael's and all related materials, remained in the office, "which he no longer entered as an outlaw," and could no longer be found - even after the end of the war. The typescript of the work, which was supplemented and corrected by hand and typewritten, was only discovered in August 2012 by Stephan Klingen in a safe at the Central Institute for Art History in Munich. The safe belonged to his student Ludwig Heinrich Heydenreich , who remained in Germany in 1933 and died in 1978 , and who was the founding rector of the Central Institute for Art History in 1946. Heydenreich had succeeded Panofsky in Hamburg in 1934 and had re-established friendly relations with Panofsky after the war. Although he corresponded with him about the need to write the Michelangelo book after all, he had never informed him that he was in possession of the habilitation thesis, which was believed to be lost.

Awards

Panofsky was a member of numerous learned societies and academies, such as the American Philosophical Society and the American Academy of Arts and Sciences (1948), the Royal Netherlands Academy of Sciences (1954), the British Academy (1955) and the German Academy of Language and Sciences Seal (1957). In 1967 he became a member of the Pour le Mérite order .

Erwin Panofsky received many awards and prizes during his lifetime and afterwards. In 2000, 67 years after his discharge, the University of Hamburg named a lecture hall after him.

Scientific achievement

In the 1920s, Panofsky published several essays on art-historical methodology, following on from Immanuel Kant's philosophy and the work of the Viennese art historian Alois Riegl . He took up the concept of artificial desire invented by Riegl and first processed it in 1920 in an essay on the subject of “The concept of artificial desire”. His article “On the relationship between art history and art theory”, published in 1925, followed directly on from this. In it he tried to introduce the will to art as a neo-Kantian category for art history. He saw the properties “fullness” or “form” as the equivalents of Kant's a priori visual forms “ space ” and “ time ”, ie as those basic properties to which all other artistic decisions can be traced. In his opinion, all works of art can be classified on an imaginary scale between these two extreme poles.

Around the same time he worked on the magazine Idea (1924), which - strongly influenced by considerations of Ernst Cassirer in concept of substance and function term (1910) and in direct confrontation with the same time entworfenem essay Eidos and Eidolon (1924) - an important methodological pulse of an art historical term history educated. This tradition and methodology was later followed by Michael Baxandall and Wolfgang Kemp, among others .

In Hamburg, Panofsky founded the Hamburg Art History School together with Aby Warburg , Fritz Saxl and Ernst Cassirer . After 1933 he was very close to the Warburg Institute . Panofsky's main interest was the exploration of the meaning in art, which meant not only the content presented, but also its contemporary reception , i.e. the understanding of the historical context and therefore the chosen forms and motifs. In doing so, Panofsky set himself apart from the then still predominant approach to art history, which primarily pursued a formal, qualitative, attribution-oriented and chronological classification of its historical objects by means of style criticism.

He developed a three-stage model for what he called iconology, which was supposed to do justice to an increasingly complex interpretation:

Interpretation scheme

The interpretation scheme for the interpretation of works of art developed by Erwin Panofsky is divided into three investigation phases, each of which is intended to reveal a layer of meaning of the work of art to be interpreted.

The three research phases

Pre-iconographic description

For Panofsky, forms are configurations of color, line and body patterns, which in turn represent part of the general visual world. In the pre-iconographic description, forms or representations should be identified as primary or natural carriers of meaning (artistic motifs). The motifs can have factual or expressive meanings. Configurations should be identified as objects (for example as people, plants or objects) and mutual relationships between the objects should be identified as events (for example as conversations or hugs). These recognized motives have a factual meaning. Atmospheres, moods, gestures, facial expressions, etc. (motifs with expressive meaning) should also be recognized. Prerequisites for the pre-iconographic description are "practical experience (familiarity with objects and events)" and possibly literary sources, for example if an outdated tool cannot be recognized. A precise list of all motifs is the conclusion of the pre-iconographic description and the primary or natural meaning is recorded.

Iconographic analysis

Here, motifs and / or motif combinations (compositions) are assigned as secondary or conventional carriers of meaning to topics or concepts. Motifs should be identified as images, symbols or attributes and compositions as personifications, allegories or anecdotes . "It [the secondary or conventional meaning] is grasped by the knowledge that a male figure with a knife represents Saint Bartholomew , that a female figure with a peach in hand is a personification of truthfulness [...] or that two figures, who fight each other in a certain way, stand up for the fight between vice and virtue. ”Prerequisites for an iconographic analysis are a correct pre-iconographic description and“ knowledge of literary sources (familiarity with certain topics and ideas) ”. Finally, a theme or concept that was consciously integrated by the artist into his work should be formulated, thereby revealing the secondary or conventional meaning.

Iconological interpretation

The image elements identified from the first two phases of the investigation (shapes, motifs, themes, etc.) should be recognized as symbolic values. While the pictorial elements are treated as properties and characteristics of the work of art in the pre-iconographic description and the iconographic analysis, in the iconological interpretation these are to be seen as symbolic values ​​based, for example, on national, epochal, religious or philosophical principles, so that the elements and the entire work of art can be placed in a larger context. Viewed from this point of view, the work of art is a contemporary document and / or a document of the personality of the artist or client. The iconological interpretation is interdisciplinary . Possible iconological questions would be: “Why did a certain artist use the same motif in many of his works?” Or “Why do the same themes appear in many works of art by different artists of the same era and nation?” Prerequisites for iconological interpretation are a correct iconographic analysis and "synthetic intuition (familiarity with the essential tendencies of the human mind)". The aim is to show and interpret symbolic values ​​that the artist has often unconsciously allowed to flow into his work of art and that may even deviate from his intended statement, whereby the actual meaning or content is captured.

The corrective principle

A corrective principle should be used to check the interpretation scheme. The pre-iconographic description should be secured by means of the “style history (insight into the way in which objects and events were expressed by forms under changing historical conditions)”. The iconographic analysis is to be tested with the “type history (insight into the way in which certain topics or ideas were expressed through objects and events under changing historical conditions)”. The iconological interpretation should be corrected if necessary with the help of the “history of cultural symptoms or symbols in general (insight into the way in which, under changing historical conditions, essential tendencies of the human mind were expressed through certain themes and ideas)”.

In 1955, Panofsky published a collection of essays in an anthology entitled Meaning in the Visual Arts , which has now become one of the classics of art historical literature. In 1975 the anthology was published in German translation under the title Sinn und Deutung in der bildenden Kunst .

Publications (selection)

The relevant catalog raisonné in Dieter Wuttke (Ed.), Cumulations (see below)

  • Albrecht Dürer's theoretical art theory (Dürer's aesthetics). Inaugural dissertation Freiburg. Georg Reimer, Berlin 1914.
  • Dürer's art theory, primarily in its relationship to the art theory of the Italians . G. Reimer, Berlin 1915. (New edition: Walter de Gruyter, Berlin / Boston 2011, ISBN 978-3-11-150296-0 )
  • Michelangelo's design principles especially in their relationship to those of Raphael . Habilitation. Hamburg 1920, from the estate ed. by Gerda Panofsky. Walter de Gruyter, Berlin / Boston 2014, ISBN 978-3-11-031047-4
  • Dürer's position on antiquity (individual representations of art history. Series of reprints from the yearbook for art history 5). Austrian publishing company Eduard Hölzel & Co., Vienna 1922.
  • with Fritz Saxl. ›› Melencholia I ‹‹ (Studies from the Warburg Library 2). Teubner, Leipzig / Berlin 1923.
  • Idea. A contribution to the conceptual history of older art theory (Studies of the Warburg Library 5). Teubner, Leipzig / Berlin 1924.
  • "Imago Pietatis". A contribution to the type history of the "pain man" and the "Maria Mediatrix". In: Festschrift for Max Friedländer on the 60th birthday. EA Seemann, Leipzig 1927, pp. 261-308.
  • The German sculpture of the eleventh to thirteenth centuries . Wolff, Munich 1924.
  • The perspective as a "symbolic form". In: Lectures of the Warburg Library 1924/1925. Leipzig / Berlin 1927.
  • Hercules at the Crossroads and Other Ancient Images in Modern Art. (Studies of the Warburg Library 18). Teubner, Leipzig / Berlin 1930.
  • To the problem of description and content interpretation. In: Logos. 21 (1932), pp. 103-119.
  • Studies in Iconology. Humanistic Themes in the Art of the Renaissance. Oxford University Press, New York 1939. (expanded new edition Harper Torch, New York et al. 1962. Translated into German by Dieter Schwarz: Studies on Iconology. Humanistic Themes in Renaissance Art . Dumont, Cologne 1980, ISBN 3-7701-0937- 6 )
  • The Codex Huygens and Leonardo da Vinci's art theory . London 1940.
  • Albrecht Dürer. Volume 1: The life and art of Albrecht Dürer. Volume 2: Handlist, concordances, and illustrations. Princeton University Press, Princeton, NJ 1943. ( The life and art of Albrecht Dürer . Translated into German by Lise Lotte Möller. Wissenschaftliche Buchgesellschaft, Darmstadt 1977)
  • Gothic Architecture and Scholasticism . Latrobe 1951. (Thomas Frangenberg (Hrsg.): Gothic architecture and scholasticism. Translated into German by Helga Willinghöfer. Dumont, Cologne 1989, ISBN 3-7701-2105-8 )
  • Early Netherlandish Painting. Cambridge (MA) 1953. ( The old Dutch painting: its origin and essence. Translated into German by Jochen Sander and Stephan Kemperdick. 2 volumes, Cologne 2001, ISBN 3-7701-3857-0 )
  • Meaning in the Visual Arts . New York 1955. ( Meaning and interpretation in the visual arts . Translated into German by Wilhelm Höck. Dumont Buchverlag, Cologne 1975, ISBN 3-7701-0801-9 , chapter Iconography and Iconology, pp. 36–50 and Notes, pp. 63f)
  • Renaissance and Renascences in Western Art. Almqvist & Wiksell, Stockholm 1960. ( The renaissance of European art . Translated into German by Horst Günther. Suhrkamp, ​​Frankfurt am Main 1979, ISBN 3-518-07508-X )
  • A mythological painting by Poussin . Stockholm 1960.
  • Problems in Titian, mostly iconographic . New York University Press, New York 1969 (= The Wrightsman Lectures, 2).
  • Essays on basic questions in art history . Wissenschaftsverlag Spiess, Berlin 1974.
  • Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225.
  • In defense of the ivory tower. In: Der Architektur-Rabe (Der Rabe No. 41), Zurich 1994, pp. 147–155 [first. 1957, lecture 1953].
  • Karen Michels, Martin Warnke (ed.): German-language essays. (= Studies from the Warburg house. 1). Akademie Verlag, Berlin 1998, ISBN 3-05-002764-9 .
  • What is baroque? Transcript of a lecture delivered at Vassar College in 1935. Vassar College o. O. 1953. (Michael Glasmeier, Johannes Zahlten (Hrsg.): Was ist Barock? Translated into German by Holger Wölfle. Philo and Philo Fine Arts, Hamburg / Berlin 2005, ISBN 3-86572-410-8 )
  • Galileo as a Critic of the Arts . Nijhoff, The Hague 1954. ( Galileo Galilei and the visual arts. Translated into German by Heinz Jatho, presented by Horst Bredekamp . Diaphanes Verlag, Zurich 2012, ISBN 978-3-03734-149-0 )
  • Dieter Wuttke (Ed.): Erwin Panofsky. Correspondence 1910–1968. An annotated selection in five volumes . Harrassowitz Verlag, Wiesbaden.
  • Gereon Becht-Jördens (ed.): Eternal love alone. Erwin Panofskys, who also calls himself Pan, Latin poems, collected, revised, corrected and provided with a few brief comments. With introduction in Latin and German as well as German translation of verses, Königshausen & Neumann, Würzburg 2018 ISBN 978-3-8260-6260-5

literature

  • German Biographical Encyclopedia . Volume 7, p. 557.
  • Gereon Becht-Jördens: Erwin Panofsky's indestructible belief in the unity of the civilized world in the face of its threat from racism and chauvinism. On the development of his concepts since 1920. With an unknown letter from 1946. In: Archiv für Kulturgeschichte 96, 2014, pp. 405–440.
  • Andreas Beyer : Stranger in Paradise. Erwin Panofsky's Expulsion to the Academic Parnassus. In: Eckart Goebel, Sigrid Weigel (ed.): "Escape to Life". German Intellectuals in New York: A compendium on Exile after 1933. De Gruyter, Berlin / Boston 2012, pp. 429-444, ISBN 978-3-11-025867-7 .
  • Rainer Donandt: Erwin Panofsky - iconologist and advocate of reason. In: Rainer Nicolaysen (ed.): The main building of the University of Hamburg as a place of memory. With seven portraits of scientists displaced during the Nazi era . Hamburg University Press, Hamburg 2011, ISBN 978-3-937816-84-5 , pp. 113-140.
  • Eckart Krause, Rainer Nicolaysen (ed.): In memory of Erwin Panofsky (1892–1968). Speeches on the occasion of the naming of lecture hall C in the main building of the University of Hamburg in Erwin-Panofsky-Hörsaal on June 20, 2000 (Hamburger Universitätsreden NF, Vol. 17), Hamburg 2009 E. Krause, Bibliographical Notes .
  • William S. Heckscher : Erwin Panofsky: A Curriculum Vitae. In: Record of the Art Museum, Princeton University. Vol. 28, No. 1 ( Erwin Panofsky: In Memoriam ) 1969, pp. 4-21.
  • Karen Michels:  Panofsky, Erwin. In: New German Biography (NDB). Volume 20, Duncker & Humblot, Berlin 2001, ISBN 3-428-00201-6 , pp. 36-38 ( digitized version ).
  • Karen Michels: Socrates in Pöseldorf. Erwin Panofsky's Hamburg Years (Scientist in Hamburg, Vol. 1), Göttingen 2017, ISBN 978-3-8353-3155-6 .
  • Klaus Mlynek : Panofsky, Erwin. In: Dirk Böttcher, Klaus Mlynek, Waldemar R. Röhrbein, Hugo Thielen: Hannoversches Biographisches Lexikon . From the beginning to the present. Schlütersche, Hannover 2002, ISBN 3-87706-706-9 , p. 279, online via Google Books
  • Klaus Mlynek: Panofsky, Erwin. In: Klaus Mlynek, Waldemar R. Röhrbein (eds.) U. a .: City Lexicon Hanover . From the beginning to the present. Schlütersche, Hannover 2009, ISBN 978-3-89993-662-9 , p. 494.
  • Gerda Panofsky: Introduction by the editor. In: Erwin Panofsky: Michelangelo's design principles especially in their relationship to those of Raphael . Habilitation. Hamburg 1920, from the estate ed. by Gerda Panofsky. Walter de Gruyter, Berlin 2014, pp. 1–34.
  • Gerda Panofsky: Erwin Panofsky from ten to thirty and his Jewish roots. (Publications of the Central Institute for Art History , 41), Dietmar Klinger Verlag, Passau 2017, ISBN 978-3-86328-150-2
  • Barbara Picht: Forced way out. Hermann Broch, Erwin Panofsky and Ernst Kantorowicz in Exile in Princeton. Wissenschaftliche Buchgesellschaft, Darmstadt 2008, ISBN 978-3-534-20794-7 , pp. 27-33, pp. 56-68, pp. 92-103, pp. 133-149, 168-189.
  • Bruno Reudenbach (Ed.): Erwin Panofsky. Contributions to the Hamburg Symposium 1992. Akademie Verlag, Berlin 1995, ISBN 3-05-002392-9 .
  • Ulrike Wendland: Biographical handbook of German-speaking art historians in exile. Life and work of the scientists persecuted and expelled under National Socialism. Part 2: L – Z. Saur, Munich 1999, ISBN 3-598-11339-0 .
  • Dieter Wuttke (Ed.): Erwin Panofsky. Correspondence 1910–1968. An annotated selection in five volumes , Vol. 1: Korrespondenz 1910–1936. Harrassowitz Verlag, Wiesbaden, 2001, ISBN 3-447-04448-9 , pp. IX – XXXI,
  • Dieter Wuttke: Focus on Panofsky. Contributions to the life and work of Erwin Panofsky. With additions to the correspondence and the again expanded Panofsky bibliography 1914 to 1969/73. , Edited by Petra Schöner. (= saecula spiritalia 51). Koerner: Baden-Baden, 2018, ISBN 978-3-87320-451-5 .

Web links

Commons : Erwin Panofsky  - collection of images, videos and audio files

Individual evidence

  1. ^ A b Klaus Mlynek: Panofsky, Erwin. In: Hannoversches Biographisches Lexikon. (see literature)
  2. ↑ Cf. Gerda Panofsky, Erwin Panofsky from ten to thirty (see literature below) pp. 5–50.
  3. ↑ Erwin Panofsky: Correspondence 1910 to 1968. An annotated selection in five volumes . Edited by Dieter Wuttke. Volume 1: Correspondence 1910 to 1936 . Wiesbaden 2001, pp. 3-4.
  4. ↑ Cf. Gerda Panofsky, Erwin Panofsky from ten to thirty (see literature below) pp. 51–85.
  5. ↑ See statutes for the Grimm Foundation .
  6. ^ G. Reimer, Berlin 1915 (new edition by Walter de Gruyter, Berlin Boston 2011). For his scientific beginnings cf. Gerda Panofsky (see below web link) as well as this., Erwin Panofsky from ten to thirty (see below literature) pp. 87-138; P. 151; Pp. 157-160; Pp. 165-201.
  7. ↑ Topic of the trial lecture on July 3, 1920 The development of the theory of proportion as a reflection of the general development of style. In: Monthly Issues for Art History 14, 1921, pp. 188–219; Topic of the inaugural lecture on November 10, 1920: Michel Angelo and Leonardo . A contrast of the artistic worldview. The habilitation thesis , which initially remained unpublished and which disappeared after emigration , was found in a safe in the Central Institute for Art History in Munich in 2012 , where it must have been and is now kept by Ludwig Heinrich Heydenreich , Panofsky's last assistant in Hamburg and later founding rector of the Central Institute in the meantime, published by Panofsky's second wife Gerda Panofsky, in print: “Michelangelo's design principles, especially in their relationship to those of Raphael.” Walter de Gruyter, Berlin Boston 2014.
  8. ↑ Horst Bredekamp: Ex nihilo: Panofsky's Habilitation. In: Bruno Reudenbach, Heinz Abels (eds.): Erwin Panofsky: Contributions to the symposium. Akademie Verlag, Hamburg 1994, ISBN 3-05-002392-9 , p. 36 ff.
  9. ↑ Also in 1927 Udo von Alvensleben received his doctorate from Panofsky with his dissertation on the Great Garden in Hanover-Herrenhausen, published by Deutscher Kunstverlag, which provided the inspiration for its reconstruction from 1936 onwards, on which Alvensleben assisted in an advisory capacity.
  10. ↑ For studies and academic teaching, cf. Barbara Picht: Forced way out. Hermann Broch, Erwin Panofsky and Ernst Kantorowicz in Exile in Princeton. Wissenschaftliche Buchgesellschaft, Darmstadt 2008, pp. 28–33, pp. 63–68, pp. 92–103.
  11. ^ Beat Wyss : A misprint . In: Erwin Panofsky. Contributions to the Hamburg Symposium 1992. Berlin 1994, pp. 191–199; Pietro Conte: The Panofsky-Newman Controversy. Iconography and Iconology Put to the Test of "Abstract" Art, in: Aisthesis , 8 (2015) ( http://www.fupress.net/index.php/aisthesis/article/view/17567/16380 ).
  12. ↑ Wyss, ibid. P. 199.
  13. ↑ ias.edu
  14. ^ Gerda Panofsky, Introduction by the editor. In: Erwin Panofsky, Michelangelo's design principles, especially in their relationship to those of Raphael , ed. by Gerda Panofsky, Berlin Boston 2014, p. 8.
  15. ↑ Cf. the facsimile in: Erwin Panofsky, Die Gestaltungsprincipien Michelangelo, especially in their relationship to those of Raphael , ed. by Gerda Panofsky, Berlin Boston 2014, after p. 284.
  16. ↑ 3sat.de
  17. ^ Lost Panofsky script found in NSDAP safe. In: Hamburger Abendblatt . August 30, 2012.
  18. ↑ Erwin Panofsky: Correspondence 1910 to 1968. An annotated selection in five volumes. Edited by Dieter Wuttke . Volume 2: Correspondence 1937 to 1949. Wiesbaden 2003, No. 1262, p. 1000; No. 1321, p. 1088; No. 1331, p. 1101 f.
  19. ^ Frankfurter Allgemeine Zeitung. August 31, 2012, p. 29 ff., S. below web link.
  20. ^ Member History: Erwin Panofsky. American Philosophical Society, accessed January 23, 2019 .
  21. ^ Members of the American Academy. Listed by election year, 1900-1949 ( PDF ). Retrieved October 11, 2015
  22. ^ Erwin Panofsky at the Dutch Academy of Sciences.
  23. ^ Deceased Fellows. British Academy, accessed July 14, 2020 .
  24. ^ Erwin Panofsky at the German Academy for Language and Poetry .
  25. ↑ Erwin Panofsky at the Order Pour le Mérite .
  26. ↑ Michael A. Holly: Panofsky and the Foundations of Art History. Ithaca / London 1984, pp. 57-96; Karlheinz Lüdeking : Panofsky's detour to iconography, in: Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft , 8 (2007), pp. 201–224.
  27. ^ Ernst H. Gombrich : Idea in the Theory of Art: Philosophy or Rhetoric ?, in: Idea . Atti del VI colloquio internazionale (Roma, 1989), ed. v. M. Fattori, ML Bianchi. Rome 1990, pp. 411-420; Fabian Jonietz: Conceptual history in the dust of pigments, in: F. Jonietz, Alessandro Nova (ed.): Vasari as paradigm. Reception, Criticism, Perspectives - The Paradigm of Vasari. Reception, Criticism, Perspectives (= Collana del Kunsthistorisches Institut in Florence - Max Planck Institute. Vol. 20). Conference files, 14.-16. February 2014, Florence, Art History Institute, Max Planck Institute. Marsilio, Venice 2016, pp. 111–136, here pp. 113–117.
  28. ↑ F. Jonietz, Begriffsgeschichte 2016th
  29. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207–225, here p. 207.
  30. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 208 and p. 210.
  31. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 223.
  32. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 210, p. 214.
  33. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 210.
  34. ↑ Quote: E. Panofsky: Ikonographie und Ikonologie. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 210.
  35. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 223.
  36. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, pp. 210f.
  37. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, pp. 211ff.
  38. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, pp. 221ff.
  39. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 223.
  40. ^ E. Panofsky: Iconography and Iconology. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, pp. 211-214.
  41. ↑ All citations of this section E. Panofsky: Ikonographie und Ikonologie. In: E. Kaemmerling (ed.): Fine art as a system of signs. Iconography and Iconology. Volume 1: Theories - Development - Problems. Cologne 1994, pp. 207-225, p. 223.
  42. ↑ Benjamin Drechsel: Erwin Panofsky, Meaning in the Visual Arts In: Claus Leggewie , Darius Zifonun, Anne Lang, Marcel Siepmann, Johanna Hoppen (eds.): Schlüsselwerke der Kulturwissenschaften . Transcript, Bielefeld 2012, p. 79.
personal data
SURNAME Panofsky, Erwin
BRIEF DESCRIPTION German-American art historian
DATE OF BIRTH March 30, 1892
PLACE OF BIRTH Hanover
DATE OF DEATH March 14, 1968
Place of death Princeton, New Jersey