#Erwin Panofsky

[schizografia]

Il fatto che gli oggetti artistici affaccino di necessità la pretesa di venir considerati in un modo che non sia semplicemente storico costituisce la maledizione e insieme la fortuna della scienza dell’arte [Kunstwissenschaft]. […] una fortuna perché essa mantiene la scienza dell’arte in una permanente tensione, perché sollecita costantemente la riflessione metodologica, e specialmente perché ci ricorda che l’opera d’arte non è un oggetto storico qualsiasi, – una maledizione perché introduce nella ricerca un’incertezza, una frammentazione, difficilmente sopportabili, e perché lo sforzo di giungere a scoprire determinate leggi ha portato a risultati i quali o non garantiscono la serietà di una concezione scientifica, oppure sembrano avvicinarsi troppo al valore di unicità dell’opera d’arte individuale.

E. Panofsky

Il non-sapere mette a nudo. Questa proposizione è il culmine, ma deve essere intesa così: mette a nudo, dunque vedo ciò che il sapere nascondeva finora, ma se vedo so. In effetti so, ma quel che ho saputo, il non-sapere, lo mette ancora a nudo.

G. Bataille

[dipnotski]

Erwin Panofsky – Albrecht Dürer (2024)

Yirminci yüzyılın en büyük sanat tarihçilerinden Erwin Panofsky, evinden ve dilinden uzaktayken giriştiği bu inşayla, ressam ve gravürcü Albrecht Dürer’in dünyasına pek çok kapı ve pencereden giriş yapmamıza imkân tanıyor. Panofsky’nin binbir emekle ortaya koymuş olduğu bu çalışmada, Dürer’in sanatıyla yaşamı, ilişkileriyle ticari girişimleri, seyahatleriyle sanatsal evrimi, dile ilişkin…

[nunc2020]

Nachtlektüre. Es fällt miir schwer, gegen die stil- und objektfixierte Kunstgeschichte zu denken, dabei sollte mir die Soziologisierung der Ikonologie doch nahe sein. Der Kult des Einzigartigen, so simpel er ist, hat mehr Sex als die dispositionalistische Ästhetik Bourdieus, der die sozialen Determinanten eines Werkes offenlegt. Mit der ikonologischen Analyse Panofskys ist das dann schon kompletter. Bei Manet geht es um die Dynamik zwischen Betrachtenden und Betrachteten, Subjekt und Objekt, Maler und Modell. Olympias Blick spricht das Unterbewusstsein des Betrachters an. Das Punktum nistet sich subversiv in den dominanten Bildinhalt ein. Das Subversive ist dabei so manifest und cool. Es zielt auf die Subjektivität von individuellen Betrachtern ab, mobilisiert ihre Schau- und Spekulationslust und macht sie letztlich zu Koautoren und Komplizen des gegebenen Bildes. Der Prozess der Bedeutungsbildung produziert jouissance. Kein Maler hat mehr Sex als Manet.

[museenkuss]

ERWIN PANOFSKY: Galileo as a Critic of the Arts (1954)

I love how Panofsky prefaces that by saying that Galileo had "strong principles" - he sure did! I'd love to have tea with him sometime.

[fabiansteinhauer]

Raumkasten

Dieses Abendmahl finde, so beschreibt es Panofsky, in einem Raumkasten statt.

[afranciscomiradiezblr-blog]

Hieronymus Bosch- El Bosco.

Entre 1490 y 1515 (detalle) de Hieronymus Bosch (1450~1516), 'El Jardín de las Delicias' (Prado, Madrid)

Jheronimus Bosch o Hieronymus Bosch, en idioma español el Bosco, fue un pintor nacido al norte del Ducado de Brabante, en los actuales Países Bajos, autor de una obra excepcional tanto por la extraordinaria inventiva de sus figuraciones y los asuntos tratados como por su técnica, al que Erwin Panofsky calificó como artista «lejano e inaccesible» dentro de la tradición de la pintura flamenca a la que pertenece. El Bosco no fechó ninguno de sus cuadros y son relativ...

[luxe-pauvre]

But art history is no terra nullius, and I concede that the natives may view invasion with disquiet. Art history, like any branch of the humanities, is, after all, imbued with the critical interpretation of the things it studies, and when it comes to interpretation—the meaning of art—science would seem to have no domain. It takes, an art historian might say, an Erwin Panofsky to grasp the allegorical content of Dutch art, a Josef Albers its descriptive qualities. Believe either or both, but concede that it takes a human, steeped in the art itself, to see what’s there. I agree, at least for now. When humanities scholars say—it’s something of a trope—that “computers cannot reveal meaning” they seem to imagine algorithmic sausage grinders that chew up raw JPEGs and spew interpretations out. To be sure, analogous machines capable of mining the scientific literature to produce new knowledge already exist, but such machines, whether they appear in our fondest dreams or worst nightmares, are beside the point. For now, as always, it is humans who find meanings in the world and science is just a way of testing their truth. All that is required for the use of science, or any other rational method of investigation, is a consensus that those interpretations not be solipsistic and equivocal, but public and falsifiable.

Armand Marie Leroi, The Nature of Art

[justbusterkeaton]

Cops is certainly the most serious (indeed, tragic) and possibly the greatest (or most thoroughly achieved) of all the Keaton two-reelers. it is a simple story, simply told, with implications on many levels.

In brief: it is one man against the police; it is man against fate; it is fate worked out through the machinelike hostility of man toward his fellow man; and it is fate inside the individual, in the ineradicable patterns of his own stupidity, so that it is man against himself.

Although no miracle comes to save Keaton, Cops itself is something of a miracle: the Kafkaesque tale is yet an unforgettably funny tale, a pure evocation of the world of Buster Keaton, as uniquely Keaton as The Gold Rush is uniquely Chaplin. It is a picture full of what Gilbert Seldes has called Keaton's "enormous, incorruptible gravity . . . intense preoccupation . . . hard sense of personality”.

In Cops, Buster himself, acting with the best of intentions, fetches disaster down upon his own head. So vehement, so vindictive, so utter is this final disaster that one can readily accept the idea of "roaring, destructive, careless energy" that Seides ascribed to the workings of slapstick. So fatally fitted into the chain of his ultimate destruction is every move that Buster makes that one is reminded of art historian Dr. Erwin Panofsky's description of Keaton the comedian as "imperturbably serious, inscrutable, and stubborn, who acts under the impulse of an irresistible power unknown to himself, comparable only to the mysterious urge that causes the birds to migrate Or the avalanche to come crashing down."

In Cops, as Seldes wrote “thousands of policemen rushed down one street; equal thousands rushed up another; and before them fled this small, serious figure, bent on self-justification, caught in a series of absurd accidents, wholly law-abiding, a little distracted."

A museum director, the late Dr. Jermayne MacAgy saw this visual symbol as uniquely Keaton.

“Buster Keaton's portrait, is not a close-up. It is Buster in a great empty space, facing you from far, far away. There he stands motionless for that one moment, waiting for his fate”.

Cops 1922

Excerpt from Keaton by Rudi Blesh

[dipnotski]

Erwin Panofsky – İdea: Antik Sanat Kuramının Kavramsal Tarihine Bir Katkı (2023)

Tüm yaşamını sanatsal düşüncenin yörüngesini ve merkezindeki ortak kültürel arketipleri araştırmaya vakfeden sanat tarihçisi ve kuramcı Erwin Panofsky’nin temel bir felsefi ve sanatsal kavram odağında kaleme aldığı ‘İdea: Antik Sanat Kuramının Kavramsal Tarihine Bir Katkı’, yirmi birinci yüzyılda da güncelliğini koruyan bir metin olarak dikkat çekiyor. Sanatta modernitenin ve modernizm sonrası…

[dutzervonmezzenbrau]

"Et in Arcadia" is Nicolas Poussin's elegiac meditation on a Latin phrase found in Virgil's fifth eclogue that translates literally as "Even in Arcady, there am I," or "Death is even in Arcady," but has been interpreted in various ways through the ages. Erwin Panofsky treats the phrase, and Poussin's possible interpretation, in depth in his "Meaning and the Visual Arts." The inscription is discovered on a tomb by a group of shepherds and absorbs them in contemplation of the idea of mortality, a concept they seem to understand with Stoic resignation ~ Cormac McCarthy

[filapi]

https://www.youtube.com/watch?v=M5cISZpz8CE

[marioclubart]

AST, Balthasar van der Dutch painter (b. 1594, Middelburg, d. 1657, Delft) Basket of Fruits c. 1625 Oil on wood, 14 x 20 cm Staatliche Museen, Berlin Typically, Italian and French fruit still-lifes in the 17th century tend towards a strictly objective description of the actual phenomena. The Dutch, on the other hand, were still in the tradition of "disguised symbolism" (Erwin Panofsky) as something that gave depth to empirical precision. Balthasar van der Ast's Fruit Basket, for example, contains enough additional elements to show that he is concerned with more than a realistic rendering. The vanitas theme is emphasized by the presence of bruises, bad spots and wormholes, as well as insects such as butterflies, dragonflies and house flies, as well as a lizard - a rather unusual sight on a table - which is nibbling at one of the apples outside the basket. Grapes of course, often has a christological reference. If we consider further that, in the context of Virgin Mary, apples symbolize redemption and victory over sin, whereas insects and lizards were often associated with the principle of evil, then this harmless everyday motif suddenly turns into a scene (though on a smaller scale) of good versus evil in the history of salvation.

[anamasias]

Tesis de maestría: El Popol Vuh de la Abuelita del Ahuizote, «estética decolonial» en la obra del artista mexicano Enrique Chagoya

Esta tesis tiene por objetivo encontrar un lugar común entre lo que es la «estética decolonial» y el arte digital de 2021 de Enrique Chagoya denominado El Popol Vuh de la abuelita del Ahuizote. Enrique Chagoya es un artista plástico particular, cuya obra es reconocida en el circuito del arte en los Estados Unidos de América, sin embargo, él ha considerado el mundo del arte occidental como una extensión del colonialismo cultural en una entrevista que tuvo conmigo en 2021. Lo expresado en la obra El Popol Vuh de la abuelita del Ahuizote coincide con las ideas de teóricos sudamericanos que plantean un giro epistémico decolonial. Para poder llegar a este lugar común, esta tesis se ha dividido en tres capítulos: «Un acercamiento a la vida, obra y pensamiento de Enrique Chagoya»; «El Popol Vuh de la abuelita del Ahuizote, un análisis»; y «Giro decolonial en El Popol Vuh de la abuelita del Ahuizote». El primer capítulo es un panorama general de la obra de Chagoya, en el que propongo cuatro distintas etapas. Terminado este capítulo voy a continuar con el análisis de la obra elegida para sustentar esta tesis, El Popol Vuh de la abuelita del Ahuizote, bajo la metodología de Erwin Panofsky: un análisis iconográfico y uno iconológico de los 21 folios que la componen. Finalmente, como se dijo en un inicio, voy a sustentar el encuentro entre el pensamiento decolonial y la obra analizada y la existencia de una «estética decolonial» en esta.

Temas

Chagoya, Enrique--Crítica e interpretación Chagoya, Enrique. Popol Vuh de la abuelita del Ahuizote--Crítica e interpretación Descolonización en el arte

Puedes descargar mi tesis en el siguiente link:

[afranciscomiradiezblr-blog]

Hieronymus Bosch- El Bosco.

Jheronimus Bosch o Hieronymus Bosch, en idioma español el Bosco, fue un pintor nacido al norte del Ducado de Brabante, en los actuales Países Bajos, autor de una obra excepcional tanto por la extraordinaria inventiva de sus figuraciones y los asuntos tratados como por su técnica, al que Erwin Panofsky calificó como artista «lejano e inaccesible» dentro de la tradición de la pintura flamenca a la que pertenece. El Bosco no fechó ninguno de sus cuadros y son relativ...

[fabiankiss]

As part of my Red vs. Blue project, I conceptualised a gothic church, delving into the intricacies of Gothic architecture. This endeavor provided a valuable opportunity to explore diverse shapes and deepen my understanding of architectural style.

During my critical analysis, I immersed myself in Erwin Panofsky's book on Gothic architecture, further enriching my knowledge and influencing my creative direction.

Inspired by this exploration, I decided to continue the gothic theme but approached it from a distinct design and conceptual perspective. My goal was to infuse elements of technology while retaining the essence of traditional architecture, resulting in a creation that seamlessly blends both worlds.

The concept of ‘visual logic’ in gothic design resonates with my understanding of architecture as a form of non-verbal communication, where buildings convey messages through their design. This perspective has profoundly influenced my view of architectural elements as symbols that transcend their practical function as highlighted by Panofksy.

“the shape of canopies, decoration of scoles and archevaults, and, above all, the form of piers and capitals tended to be suppressed in favour of standard types admitting only of such variations as would occur in nature among individuals of one species.”

700-08145902 (no date). https://www.masterfile.com/image/en/700-08145902/interior-with-vaulted-ceiling-ely-cathedral.

Brooks, M. (2023) 'IBM wants to build a 100,000-qubit quantum computer,' MIT Technology Review, 25 May. https://www.technologyreview.com/2023/05/25/1073606/ibm-wants-to-build-a-100000-qubit-quantum-computer/.

Contributeurs aux projets Wikimedia (2014a) Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle/Construction -- Voûtes. https://fr.wikisource.org/wiki/Dictionnaire_raisonn%C3%A9_de_l%E2%80%99architecture_fran%C3%A7aise_du_XIe_au_XVIe_si%C3%A8cle/Construction_--_Vo%C3%BBtes.

Contributeurs aux projets Wikimedia (2014b) Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle/Construction -- Voûtes. https://fr.wikisource.org/wiki/Dictionnaire_raisonn%C3%A9_de_l%E2%80%99architecture_fran%C3%A7aise_du_XIe_au_XVIe_si%C3%A8cle/Construction_--_Vo%C3%BBtes.

Gothic cathedral main tower in black and white by Visual Motiv (no date). https://pixels.com/featured/gothic-cathedral-main-tower-in-black-and-white-visual-motiv.html.

Katwala, A. (2021) 'Quantum computers are already detangling nature’s mysteries,' WIRED UK, 17 June. https://www.wired.co.uk/article/quantum-computing.

Limited, A. (no date a) An introduction to the study of Gothic architecture, Alamy Images. https://www.alamy.com/an-introduction-to-the-study-of-gothic-architecture-l-winchester-ad-12221235-the-window-has-plate-tracery-consisting-of-a-quatrefoil-in-the-head-and-thetwo-lights-have-trefoil-heads-and-transoms-four-lancet-lights-with-dripstone-mouldings-connectingthem-into-one-window-of-two-divisions-each-of-twolights-with-an-open-quatrefoil-in-the-head-and-a-largerfoliated-opening-in-the-general-head-above-it-is-onlynecessary-to-reduce-the-quantity-of-solid-masonry-tomake-this-a-good-geometrical-window-windows-oftwo-lights-with-a-pierced-quatrefoil-in-the-head-are-progress-of-tracery-i-image340032161.html.

Limited, A. (no date b) vaulted centre painted ceiling roof Ely Cathedral Church Holy  Undivided Trinity principal Diocese County Cambridgeshire Country, Alamy Images. https://www.alamy.com/stock-photo-vaulted-centre-painted-ceiling-roof-ely-cathedral-church-holy-undivided-32096321.html.

[masticadoresdeletras]

Erwin Panofsky, el mito de Cupido

Spoglia i cor de libertà regnante, E fascia gli occhi della providenza(1) Erwin Panofsky nos explica que la iconología de la venda que tiene Cupido en sus ojos sugiere una doble interpretación que surge en el siglo XIV entre los poetas idealistas que subrayan el elevado amor espiritual frente a la degradante pasión sensual, la cual está en oposición a la corriente ideológica que él bautiza…