34 found
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  1. Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art.Raymond Klibansky, Erwin Panofsky & Fritz Saxl - 2019 - Mcgill-Queen's University Press.
    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 (...)
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  2.  14
    Galileo as a Critic of the Arts.Erwin Panofsky - 1958 - Journal of Aesthetics and Art Criticism 17 (1):124-125.
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  3.  43
    The Science of Art: Optical Themes in Western Art From Brunelleschi to SeuratPerspective as Symbolic Form.Patrick Maynard, Martin Kemp, Erwin Panofsky & Christopher S. Wood - 1994 - Journal of Aesthetics and Art Criticism 52 (2):243.
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  4. Gothic Architecture and Scholasticism.Erwin Panofsky - 1952 - Journal of Aesthetics and Art Criticism 11 (1):80-81.
  5. Meaning in the Visual Arts.Erwin Panofsky - 1983 - University of Chicago Press.
     
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  6. Tomb Sculpture: Four Lectures on Its Changing Aspects From Ancient Egypt to Bernini.Erwin Panofsky & H. W. Janson - 1967 - Journal of Aesthetics and Art Criticism 26 (2):260-261.
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  7.  21
    On the Problem of Describing and Interpreting Works of the Visual Arts.Erwin Panofsky - 2012 - Critical Inquiry 38 (3):467-482.
    In the eleventh of his Antiquarian Letters, Gotthold Ephraim Lessing discusses a phrase from Lucian's description of the painting by Zeuxis called A Family of Centaurs: ‘at the top of the painting a centaur is leaning down as if from an observation point, smiling’ . ‘This as if from an observation point, Lessing notes, obviously implies that Lucian himself was uncertain whether this figure was positioned further back, or was at the same time on higher ground. We need to recognize (...)
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  8. Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst.Erwin Panofsky - 1932 - Rivista di Filosofia 21:103.
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  9.  33
    On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art.Erwin Panofsky - 2008 - Critical Inquiry 35 (1):43-71.
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  10.  79
    Pandora's Box. The Changing Aspects of a Mythical Symbol.Dora Panofsky & Erwin Panofsky - 1957 - Journal of Aesthetics and Art Criticism 16 (1):137-138.
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  11.  13
    Three Essays on Style.Erwin Panofsky & Irving Lavin - 1997 - Journal of Aesthetics and Art Criticism 55 (1):66-68.
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  12.  11
    Galileo as a Critic of the Arts: Aesthetic Attitude and Scientific Thought.Erwin Panofsky - 1956 - Isis 47:3-15.
  13. Der Begriff des Kunstwollens.Erwin Panofsky - 1920 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 14:321-339.
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  14.  20
    Reflections on Historical Time.Erwin Panofsky - 2004 - Critical Inquiry 30 (4):691.
  15.  55
    Erasmus and the Visual Arts.Erwin Panofsky - 1969 - Journal of the Warburg and Courtauld Institutes 32:200-227.
  16.  74
    "Nebulae in Pariete"; Notes on Erasmus' Eulogy on Dürer.Erwin Panofsky - 1951 - Journal of the Warburg and Courtauld Institutes 14 (1/2):34-41.
  17. Idea a Concept in Art Theory.Erwin Panofsky & Joseph J. S. Peake - 1968 - University of South Carolina Press.
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  18.  43
    Who is Jan Van Eyck's "Tymotheos"?Erwin Panofsky - 1949 - Journal of the Warburg and Courtauld Institutes 12:80-90.
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  19.  50
    The Early History of Man in a Cycle of Paintings by Piero di Cosimo.Erwin Panofsky - 1937 - Journal of the Warburg Institute 1 (1):12-30.
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  20.  10
    The Concept of Artistic Volition.Erwin Panofsky, Kenneth J. Northcott & Joel Snyder - 1981 - Critical Inquiry 8 (1):17-33.
    Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the works of art (...)
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  21.  5
    Notes & Correspondence.Erwin Panofsky, P. Brans, Robert Multhaue & Raoul May - 1956 - Isis 47:182-188.
  22.  2
    Notes & Correspondence.Erwin Panofsky, P. H. Brans, Robert P. Multhaue & Raoul Michel May - 1956 - Isis 47 (2):182-188.
  23.  11
    Memoirs of Fellows and Corresponding Fellows of the Mediaeval Academy of America.Gaines Post, Erwin Panofsky, Joseph R. Strayer & S. Harrison Thomson - 1964 - Speculum 39 (3):596-598.
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  24. Idea Ein Beitrag Zur Begriffsgeschichte der Älteren Kunsttheorie.Erwin Panofsky - 1960 - B. Hessling.
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  25. Essais d'iconologie.Erwin Panofsky - 1971 - Discurso: Revista do Departamento de Filosofia da Universidade de Sao Paulo:151.
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  26.  1
    2.On the Relationship of Art History and Art Theory': Translators' IntroductionOn the Relationship of Art History and Art Theory': Translators' Introduction (Pp. 33-42). [REVIEW]Katharina Lorenz, Erwin Panofsky, Bill Nichols, Kent Puckett, James I. Porter, Wendy Hui Kyong Chun & Jacques Rancière - 2008 - Critical Inquiry 35 (1):43-71.
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  27.  9
    Emendation to Francesco da Fiano's Invective.Erwin Panofsky - 1949 - Journal of the Warburg and Courtauld Institutes 12:191-192.
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  28. Aufsätze Zu Grundfragen der Kunstwissenschaft.Erwin Panofsky, Hariolf Oberer & Egon Verheyen - 1964 - B. Hessling.
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  29. Über das Verhältnis der Kunstgeschichte zur Kunsttheorie.Erwin Panofsky - 1925 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 18:129-161.
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  30. Et in Arcadia ego. Poussin en de elegische traditie.Erwin Panofsky - 2009 - Nexus 51.
    In dit klassieke essay van de grote kunshistoricus Erwin Panfosky komt vast te staan dat het zinnetje ‘Et in Arcadia ego’, van oudsher te vinden op kunstwerken en in verhalen die Arcadië als thema hebben, tegenwoordig een andere betekenis krijgt dan vroeger. Waar wij het simpelweg vertalen als ‘Ook ik was in Arcadië’, een vertaling die past bij ons beeld van een idyllisch, pastoraal landschap, had het oorspronkelijk een veel minder onschuldige lading. Overtuigend toont Panofsky aan, door te verwijzen naar (...)
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  31. Galilée critique d'art, Attitude esthétique et pensée scientifique.Erwin Panofsky, Nathalie Heinich & Alexandre Koyré - 1995 - Revue Philosophique de la France Et de l'Etranger 185 (3):374-375.
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  32. La Perspective Comme Forme Symbolique Et Autres Essais.Erwin Panofsky & Marisa Dalai Emiliani - 1975
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  33. Renaissance and Renascences in Western Art.Erwin Panofsky - 1960 - Almqvist & Wiksell.
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  34. The Place of Value in a World of Facts.Ralph Barton Perry, August Charles Krey, Erwin Panofsky, Robert Lowry Calhoun & Gilbert Chinard - 1939 - Ethics 49 (3):368-371.
     
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