#panofsky

[quotesoutofseason]

[pixelsniper]

Thanks to art, instead of seeing only one world, our own, we see it under multiple forms, and as many as there are original artists, just so many worlds have we at our disposal, differing more widely from one another than those that roll through infinite space, and years after the glowing center from which they emanated has been extinguished, be it called Rembrandt or Vermeer, they continue to…

[thedragonagelesbian]

nothing like going back to a reading i did a couple of days ago to discover the all important scholarly annotation i left for myself in the form of calling something andré bazin wrote 'cyrus hawke core'

[artistic-lightcycle]

You are art interested or an art historian and want to talk or rant about our favorite topics? Come join my discord!

[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

[spidersinmysoup]

Le estoy haciendo anotaciones a mis apuntes como si fueran libros de ficción

siento como que estoy chismoseando

Básicamente habla de cómo algunos historiadores/humanistas no consideran al Renacimiento como una época innovativa o diferente a la edad media

[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.

[quotesoutofseason]

[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

[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…

[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

[quotesoutofseason]

Another landmark in the evolution of the domestic interior is the kitchen which—a daring innovation in itself—a close collaborator of Pietro Lorenzetti found it necessary to include in the Last Supper (probably executed some time before 1330) in the Lower Church at Assisi. In this remarkable kitchen, attached to the pavilion in which the Twelve have gathered much as the anteroom is attached to the bedchamber in the Birth of the Virgin, we find, in nuclear form, so to speak, a number of characteristic motifs, indicative of a domestic environment, which were destined to find favor with the great Flemings, their French and Franco-Flemish predecessors and their ubiquitous followers: the little dog licking a platter; the blazing fire (apparently developed from the standard attribute of the personification of February in calendar illustrations but here completely integrated with the architectural setting), the busy servants; and, last but not least, that cupboard or wall shelf, preferably seen from below and laden with all kinds of vessels or utensils, which may be called the fons et origo of the "independent" still life.'

Taddeo Gaddi's decoration of the Baroncelli Chapel in S. Croce includes a painted niche which, like the cupboard in Pietro Lorenzetti's kitchen, is horizontally divided into two compartments. But instead of household utensils it appropriately displays the implements of Holy Mass, and instead of forming part of a painted interior it appears to be recessed, trompe-I'oeil fashion, into the wall of the chapel itself. This little mural is thus the earliest known specimen of the "independent" still life in postclassical painting and seems to bear out the contention that this genre came into being by way of substituting "counterfeit presentments" for real objects vital to the purpose of a given room but too precious, too perishable or too dangerous to be exhibited in the flesh:

game, fish or fruit in a dining room; sacred vessels in a church; books, boxes and scientific instruments in a study; medicine jars in the office of a doctor or pharmacist.'