Panofsky and the Foundations of Art History

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出版者:Cornell University Press
作者:Michael Ann Holly
出品人:
页数:272
译者:
出版时间:1985-7-2
价格:USD 23.95
装帧:Paperback
isbn号码:9780801498961
丛书系列:
图书标签:
  • 艺术史 
  • 西方艺术史 
  • 图像学 
  • Kunstwissenschaft 
  • 艺术理论 
  • 艺术史学史 
  • 藝術史 
  • 美术理论 
  •  
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No one has been more influential in the contemporary practice of art history than Erwin Panofsky, yet many of his early seminal papers remain virtually unknown to art historians. As a result, Michael Ann Holly maintains, art historians today do not have access to the full range of methodological considerations and possibilities that Panofsky's thought offers, and they often remain unaware of the significant role art history played in the development of modern humanistic thought. Placing Panofsky's theoretical work first in the context of the major historical paradigms generated by Hegel, Burckhardt, and Dilthey, Holly shows how these paradigms themselves became the grounds for creative controversy among Panofsky's predecessors Riegl, Wolfflin, Warburg, and Dvorak, among others. She also discusses how Panofsky's struggle with the terms and concepts of neo-Kantianism produced in his work remarkable parallels with the philosophy of Ernst Cassirer. Finally, she evaluates Panofsky's better known and later "iconological" studies by reading them against the earlier essays and by comparing his earlier ideas with the vision that has inspired recent work in the philosophy of history, semiotics, and the philosophy of science."

Paperback, 272 pages

Published February 6th 2015 by Cornell University Press (first published December 1984)

Original Title: Panofsky and the Foundations of Art History

ISBN: 0801498961 (ISBN13: 9780801498961)

Edition Language: English

https://www.goodreads.com/book/show/724251.Panofsky_and_the_Foundations_of_Art_History

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requires re-reading at a later date, perhaps in conjunction with Podro and et cetera.

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是本好书。让我兢兢战战地通读过后明白了两点:对panofsky理论的理解远没有自己想象的那样深入;第二点,正是因为如此,对之的运用没有夸张到过度阐释的地步,大体上样子还过得去。

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valuable but by no means exhaustive, the later chapters lose clarity and focus at the expense of a limited presentist/80s theoretical agenda, which disaffected Preziosi at the time, and is no longer convincing now; for Perspective essay, Wood's intro is more helpful; for relation with Cassirer/NeoKantianism, a broader intellectual context is needed

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面对图像时代,我们越来越有必要重拾大潘神的理论武器了。德玛西亚!

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是本好书。让我兢兢战战地通读过后明白了两点:对panofsky理论的理解远没有自己想象的那样深入;第二点,正是因为如此,对之的运用没有夸张到过度阐释的地步,大体上样子还过得去。

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