511:
405:(1934) as not only a depiction of a wedding ceremony, but also a visual contract testifying to the act of marriage. Panofsky identifies a plethora of hidden symbols that all point to the sacrament of marriage. In recent years, this conclusion has been challenged, but Panofsky's work with what he called "hidden" or "disguised" symbolism is still very much influential in the study and understanding of
551:): This stratum goes a step further and brings to the comparison of cultural and iconographic knowledge. For example, a Western viewer would understand that the painting of 13 men around a table would represent the Last Supper. Similarly, a representation of a haloed man with a lion could be interpreted as a depiction of
562:): This level takes into account personal, technical, and cultural history into the understanding of a work. It looks at art not as an isolated incident, but as the product of an historical environment. Working in this stratum, the art historian can ask questions like "why did the artist choose to represent
1890:
Daniel Sherer, "Panofsky on
Architecture: Iconology and the Interpretation of Built Form,1915–1956", History of Humanities 5, 1 (Spring 2020), 189–221; Panofsky on Architecture, Part II: Mental Habits, Disguised Symbolism, and the "Spell of Circularity", History of Humanities 5,2 (Fall, 2020),
51:
271:
shed some light on the question of whether
Heydenreich shared his recovery of the manuscript or not: "Panofsky has historically distanced himself from his early writings on Michelangelo, as he tired of the subject, and," according to Sauerländer "developed a professional conflict with
797:
276:, who accused Panofsky of not crediting him with ideas gleaned from a conversation they had about Michelangelo drawings. Perhaps Panofsky didn't care about the whereabouts of his lost work and Heydenreich was not malicious in keeping it a secret ... but questions still remain."
580:
says "it was this insistence on, and search for, meaning — especially in places where no one suspected there was any — that led
Panofsky to understand art, as no previous historian had, as an intellectual endeavor on a par with the traditional liberal arts."
1643:
Ewig die Liebe allein. Erwin
Panofsky, der sich auch Pan nennt. Lateinische Gedichte gesammelt, revidiert, berichtigt und mit einigen knappen Anmerkungen versehen. Mit Einleitung in lateinischer und deutscher Sprache sowie deutschen
544:. If we stopped at this first stratum, such a picture could only be perceived as a painting of 13 men seated at a table. This first level is the most basic understanding of a work, devoid of any added cultural knowledge.
474:, and in Jeffrey Chipps' biography of the subject as "the most influential art historian of the twentieth century". In 1999, the new "Panofsky Lane", in that Institute's faculty housing complex, was named in his honor.
1063:
2370:
2536:
178:
in 1910 at the
Joachimsthalsches Gymnasium. In 1910–14 he studied law, philosophy, philology, and art history in Freiburg, Munich, and Berlin, where he heard lectures by the art historian
985:
502:
in collaboration with whom he produced a large part of his work. He gave a short and precise description of his method in his article "Iconography and
Iconology", published in 1939.
454:. His elder son, Hans A. Panofsky, was "an atmospheric scientist who taught at Pennsylvania State University for 30 years and who was credited with several advances in the study of
2551:
2521:
540:
Primary or natural subject matter: The most basic level of understanding, this stratum consists of perception of the work's pure form. Take, for example, a painting of the
2556:
2486:
1916:
157:
Panofsky's ideas were highly influential in intellectual history in general, particularly in his use of historical ideas to interpret artworks and vice versa.
2561:
2526:
572:
such an important saint to the patron of this work?" Essentially, this last stratum is a synthesis; it is the art historian asking "what does it all mean?"
2496:
1549:
656:
291:, where he taught from 1920 to 1933. It was during this period that his first major writings on art history began to appear. A significant early work was
660:
2476:
672:
2541:
969:
1135:
Jeffrey Chipps Smith, Introduction in Erwin
Panofsky "The Life and Art of Albrecht Durer", Princeton University Press, Princeton, 2005, p.XXVII)
316:
1841:
363:
257:, as this important study was never published and the art historian's widow was unable to locate it in Hamburg. It seems as if art historian
2491:
2451:
2360:
2461:
2516:
2279:
2187:
1835:
640:
1909:
828:
1275:
2531:
852:" (1936, as "On Movies", rev. in 1947), "The Ideological Antecedents of the Rolls-Royce Radiator" (1963). Edited and introduced by
849:
767:
636:
384:
135:
2546:
2481:
2350:
1375:
1196:, in: The Routledge Companion to Medieval Iconography, ed. by Colum Hourihane, London and New York, pp. 105-122, here p. 119).
954:
652:
247:
2506:
2345:
1934:
1902:
1651:
596:). However, among the critics, no one has found a model of interpretation that could completely replace that of Panofsky.
351:
1672:
The invisible divine in the history of art. Is Erwin
Panofsky (1892–1968) still relevant for decoding Christian iconography?
1210:
The invisible divine in the history of art. Is Erwin
Panofsky (1892–1968) still relevant for decoding Christian iconography?
753:
edited, translated, and annotated with Gerda
Panofsky-Soergel (1946). Based on the Norman Wait Harris lectures delivered at
2501:
2192:
391:
He became particularly well known for his studies of symbols and iconography in art. First in a 1934 article, then in his
588:, which had developed following Erwin Panofsky, has been critically discussed since the mid-1950s, in part also strongly (
320:
2566:
2511:
2177:
1854:"The Mouse that Michelangelo Did Carve in the Medici Chapel: An Oriental Comment to the Famous Article of Erwin Panofsky"
564:
1328:
2222:
2182:
1243:
2172:
1605:
1578:
1498:
1469:
1388:
1341:
1311:
1088:
2390:
1621:
1110:
2284:
2212:
2167:
1809:
1747:
1719:
889:
458:". As Wolfgang Panofsky related, his father used to call his sons "meine beiden Klempner" ("my two plumbers").
2466:
431:
355:
1881:
1358:
2456:
2269:
2197:
1853:
1515:
772:
375:
2202:
2355:
2207:
1925:
1701:
Meaning in the Visual Arts: View from the Outside. A Centennial Commemoration of Erwin Panofsky (1892–1968)
467:
415:
340:
955:
Uta Nitschke-Joseph, "A Fortuitous Discovery: An Early Manuscript by Erwin Panofsky Reappears in Munich".
371:
258:
1459:
1408:
2471:
2234:
2217:
1442:
832:
1795:
1771:
1679:
1671:
1209:
261:, who had studied under Panofsky, was in the possession of this manuscript from 1946 to 1970. In the
33:
1874:
2420:
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1830:
17:
1785:
1761:
268:
1012:
754:
748:
664:
447:
2254:
2112:
1805:
866:"Carmina Latina" (2018), edited with introduction and short annotations by Gereon Becht-Jördens
1235:
1000:
315:. Although initially allowed to spend alternate terms in Hamburg and New York City, after the
263:
2415:
2122:
2117:
2032:
1861:
1826:
576:
For Panofsky, it was important to consider all three strata as one examines Renaissance art.
471:
451:
344:
323:, and he remained permanently in the United States with his art historian wife (since 1916),
288:
111:
93:
1425:
2446:
2441:
2385:
2380:
2102:
1894:
857:
459:
406:
336:
284:
280:
462:
was a student, fellow emigre, and close friend. In 1973 he was succeeded at Princeton by
209:. Because of a horse-riding accident, Panofsky was exempted from military service during
8:
2410:
2365:
1997:
1272:
693:
627:
texts, which were usually considered authoritative by most patrons, artists and viewers.
612:
332:
312:
190:
232:
Die Gestaltungsprinzipien Michelangelos, besonders in ihrem Verhältnis zu denen Raffaels
2395:
2162:
2062:
2057:
1953:
1595:
1567:
1301:
1259:
1228:
624:
524:
466:. Erwin Panofsky has been recognized as both a "highly distinguished" professor at the
401:
379:
214:
1667:
1551:
Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art
1205:
808:
Saturn and Melancholy: Studies in the History of Natural Philosophy, Religion, and Art
2400:
2274:
2157:
2152:
2147:
2107:
1982:
1647:
1601:
1574:
1532:
1494:
1487:
1465:
1384:
1337:
1307:
1239:
811:
724:
495:
150:
2264:
2249:
2127:
2047:
1977:
1967:
1534:
Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini
798:
Tomb Sculpture: Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini
668:
203:
Dürers Kunsttheorie: vornehmlich in ihrem Verhältnis zur Kunsttheorie der Italiener
201:, under whom he wrote his dissertation in 1914. His topic, DĂĽrer's artistic theory
179:
1962:
643:), Panofsky seeks to describe the visual symptoms endemic" to the medium of film.
362:
and a number of other national academies. In 1954 he became foreign member of the
2142:
2132:
2092:
2067:
2052:
2037:
2012:
2007:
1987:
1790:
1766:
1723:
1279:
679:
620:
593:
443:
359:
183:
1631:. New York: Institute of Fine Arts, New York University. 1964. pp. 242–255.
675:(2019). His work has greatly influenced the theory of taste developed by French
607:
interest in texts as possible sources remains important, because the meaning of
510:
198:
174:
to a wealthy Jewish Silesian mining family. He grew up in Berlin, receiving his
2405:
2077:
1885:
1037:
688:
439:
300:
273:
2435:
2087:
2072:
2017:
2002:
1947:
600:
367:
324:
118:, whose academic career was pursued mostly in the U.S. after the rise of the
1842:
Could Perspective Ever Be A Symbolic Form. Revisiting Panofsky with Cassirer
589:
2137:
2097:
2082:
2042:
2027:
2022:
1992:
1972:
853:
802:
608:
577:
536:
Panofsky details his idea of three levels of art-historical understanding:
463:
421:
396:
328:
235:
224:
197:, took him to hear a lecture by the founder of the art history department,
2240:
676:
604:
548:
541:
515:
487:
455:
210:
126:
115:
1816:
1145:
242:"), was found in August 2012 by art historian Stephan Klingen in an old
815:
499:
491:
1713:
1168:
Studies in Iconology: Humanistic Themes in the Art of the Renaissance.
897:
2329:
2259:
585:
559:
519:
483:
253:
It had long been assumed that this manuscript was lost in 1943/44 in
194:
1836:
Rainer Donandt, "Erwin Panofsky – Ikonologe und Anwalt der Vernunft"
319:
in Germany his appointment in Hamburg was terminated because he was
50:
2314:
569:
552:
171:
141:
Studies in Iconology: Humanist Themes in the Art of the Renaissance
107:
74:
1410:
Abbot Suger on the Abbey Church of St.-Denis and Its Art Treasures
659:(Panofsky Professorship). The first Panofsky Professors have been
410:
2324:
2304:
498:
in Hamburg. A personal and professional friendship linked him to
426:
254:
239:
125:
His work represents a high point in the modern academic study of
293:
Idea: Ein Beitrag zur Begriffsgeschichte der älteren Kunstheorie
2309:
822:
175:
2537:
Members of the Royal Netherlands Academy of Arts and Sciences
2319:
1444:
Early Netherlandish Painting, Its Origins and Character: Text
1404:
744:
616:
311:
Panofsky first came to the United States in 1931 to teach at
1924:
1138:
505:
339:, and in 1935 he was invited to join the faculty of the new
1548:
Klinbansky, Raymond; Panofsky, Erwin; Saxl, Fritz (1979) .
1001:
artforum.com: International News Digest, September 26, 2012
941:, pp. 23–24 (from "Intellectual History and the History of
413:, Panofsky gives lengthy "symbolic" analyses of the prints
243:
213:, using the time to attend the seminars of the medievalist
119:
655:(Central Institute for Art History) in Munich founded the
279:
Panofsky's academic career in art history took him to the
2552:
Corresponding Fellows of the Medieval Academy of America
1489:
Pandora's Box: The Changing Aspects of a Mythical Symbol
1260:"Panofsky Lecture — Zentralinstitut für Kunstgeschichte"
785:
Pandora's Box: the Changing Aspects of a Mythical Symbol
779:
Meaning in the Visual Arts. Papers in and on Art History
2522:
Jewish emigrants from Nazi Germany to the United States
768:
Early Netherlandish Painting: Its Origins and Character
709:
Almost all texts are accessible online, see references.
692:. In particular, Bourdieu first adapted his notion of
1694:
Cassirer, Panofsky, Warburg: Symbol, Art, and History,
1547:
514:
Panofsky made important contributions to the study of
486:, a method of studying the history of art created by
1234:. Cambridge, Massachusetts: The MIT Press. pp.
1183:
Princeton: Institute for Advanced Study, 1995. p. 6.
986:"Die jĂĽngsten Funde haben unser Wissen bereichert",
863:"The Mouse That Michelangelo Failed to Carve" (1964)
603:, that Panofsky researched throughout his life, the
1181:
Meaning in the Visual Arts: Views from the Outside.
1566:
1486:
1227:
700:, having earlier translated the work into French.
438:Panofsky was known to be a friend with physicists
139:. Many of his books are still in print, including
1703:, Princeton, Institute for Advanced Study, (1995)
1336:. Translated by Christopher S. Wood. Zone Books.
522:, including his interpretation of Jan van Eyck's
450:, became a renowned physicist who specialized in
2433:
1531:Panofsky, Erwin; Janson, Horst Woldemar (1964).
1484:
1091:. Royal Netherlands Academy of Arts and Sciences
482:Panofsky was the most eminent representative of
347:, where he remained for the rest of his career.
327:(1885–1965). He and his wife became part of the
925:, chapter 7. London: Thames & Hudson, 2013.
890:"Erwin Panofsky – Dictionary of Art Historians"
32:"Panofsky" redirects here. For other uses, see
2557:Recipients of the Pour le MĂ©rite (civil class)
1530:
1373:
1179:Lavin, Irving. "Panofsky's History of Art" in
364:Royal Netherlands Academy of Arts and Sciences
205:was published the following year in Berlin as
2487:Ludwig Maximilian University of Munich alumni
1910:
1622:"The Mouse That Michelangelo Failed to Carve"
1383:. Princeton, NJ: Princeton University Press.
1225:
848:(1995): "What Is Baroque?" (prev. unpubl.), "
306:
238:, particularly in their relation to those of
2562:Corresponding fellows of the British Academy
2527:People associated with the Warburg Institute
1851:
1594:Panofsky, Erwin (1995). Irving Lavin (ed.).
921:Shone, Richard and Stonard, John-Paul, eds.
630:
395:(1953), Panofsky was the first to interpret
222:
2497:Academic staff of the University of Hamburg
2280:Master of the Amsterdam Death of the Virgin
2188:Master of the Legend of St. Ursula (Bruges)
1687:Panofsky and the Foundations of Art History
1600:. Cambridge (Mass.) and London: MIT Press.
230:, his second dissertation, which is titled
220:The original 1920 manuscript of Panofsky's
207:Die Theoretische Kunstlehre Albrecht DĂĽrers
1917:
1903:
1689:, Ithaca, Cornell University Press, (1985)
1517:Renaissance and Renascences in Western Art
1288:Bryn Mawr Review of Comparative Literature
1170:New York: Harper & Row, 1972. pp. 5–9.
945:"). Ithaca: Cornell University Press, 1988
933:
931:
829:New York University Institute of Fine Arts
791:Renaissance and Renascences in Western Art
558:Tertiary or intrinsic meaning or content (
547:Secondary or conventional subject matter (
331:. By 1934 he was teaching concurrently at
131:Renaissance and Renascences in Western Art
49:
1706:Panofsky, Erwin, and Irving Lavin (Ed.),
839:
506:Three strata of subject matter or meaning
2477:American people of German-Jewish descent
1696:New Haven, Yale University Press, (1989)
1593:
1564:
1513:
1485:Panofsky, Dora; Panofsky, Erwin (1956).
1457:
1440:
1423:
1356:
1326:
1299:
509:
2542:Members of the Royal Academy of Belgium
1846:Journal of Aesthetics and Phenomenology
1569:Problems in Titian, mostly iconographic
1554:. Nedeln, Liechtenstein: Kraus Reprint.
1226:Panofsky, Erwin; Lavin, Irving (1995).
1042:American Academy of Arts & Sciences
928:
917:
915:
850:Style and Medium in the Motion Pictures
637:Style and Medium in the Motion Pictures
14:
2434:
1882:Panofsky Bibliography: The Major Works
1737:, Wiesbaden, Harrassowitz, (2001–2011)
827:(1969) The Wrightsman Lectures of the
1898:
1427:Gothic Architecture and Scholasticism
1403:
1216:9, pp. 1-36, here pp. 1-4, 9, 23, 28.
761:Gothic Architecture and Scholasticism
698:Gothic Architecture and Scholasticism
352:American Academy of Arts and Sciences
189:While Panofsky was taking courses at
2492:Humboldt University of Berlin alumni
2452:Institute for Advanced Study faculty
2361:Arts in the court of Philip the Good
2351:Works by Early Netherlandish masters
2193:Master of the Legend of the Magdalen
1363:. New York: Oxford University Press.
912:
615:is closely linked to the content of
409:art. Similarly, in his monograph on
2462:People from the Province of Hanover
2178:Master of the Legend of St. Barbara
653:Zentralinstitut fĂĽr Kunstgeschichte
248:Zentralinstitut fĂĽr Kunstgeschichte
129:, including his hugely influential
24:
2517:Joachimsthalsches Gymnasium alumni
2371:Members of the Guild of Saint Luke
2183:Master of the Legend of Saint Lucy
1710:, Cambridge, MA, MIT Press, (1995)
1520:. Uppsala: Almqvist & Wiksell.
1377:The Life and Art of Albrecht DĂĽrer
1208:, and Maciej Jan Jasiński (2024).
737:The Life and Art of Albrecht DĂĽrer
295:(1924; translated into English as
25:
2578:
2173:Master of the Embroidered Foliage
1741:
1680:DOI:10.1080/23753234.2024.2322546
1676:Church, Communication and Culture
1214:Church, Communication and Culture
1111:"Hans A. Panofsky, 70, Scientist"
923:The Books that Shaped Art History
599:As regards the interpretation of
374:. In 1947–1948 Panofsky was the
165:
2223:Master of the View of Ste-Gudule
1641:In: Gereon Becht-Jördens (Ed.):
1629:Essays in Memory of Karl Lehmann
234:("The Composition Principles of
2532:German male non-fiction writers
2285:Master of the Figdor Deposition
2213:Master of the Morrison Triptych
2168:Master of the Antwerp Adoration
1635:
1614:
1587:
1558:
1541:
1524:
1507:
1478:
1451:
1434:
1417:
1407:(1946). Panofsky, Erwin (ed.).
1397:
1367:
1350:
1320:
1293:
1266:
1252:
1219:
1199:
1186:
1173:
1160:
1129:
1103:
1081:
1056:
272:Austro-Hungarian art historian
1148:. Institute for Advanced Study
1030:
1018:. Institute for Advanced Study
1005:
994:
988:Frankfurter Allgemeine Zeitung
979:
974:Frankfurter Allgemeine Zeitung
963:
948:
882:
490:and his disciples, especially
432:Handbook of a Christian Knight
376:Charles Eliot Norton professor
356:American Philosophical Society
13:
1:
2547:Scholars of Netherlandish art
2482:University of Freiburg alumni
2270:Jacob Cornelisz van Oostsanen
2198:Master of the Lille Adoration
1735:Erwin Panofsky. Korrespondenz
1646:. Königshausn & Neumann,
1573:. New York University Press.
1413:. Princeton University Press.
1303:Idea: A Concept in Art Theory
870:
773:Charles Eliot Norton Lectures
771:(1953). Based on the 1947–48
723:(1927). Lectures held at the
715:Idea: A Concept in Art Theory
350:Panofsky was a member of the
297:Idea: A Concept in Art Theory
2507:Princeton University faculty
2346:Early Netherlandish painting
2208:Master of the Mansi Magdalen
1796:Resources in other libraries
1772:Resources in other libraries
1728:Dictionary of Art Historians
1330:Perspective as Symbolic Form
1089:"Erwin Panofsky (1892–1968)"
957:Institute for Advanced Study
721:Perspective as Symbolic Form
477:
468:Institute for Advanced Study
416:Knight, Death, and the Devil
393:Early Netherlandish Painting
385:Early Netherlandish Painting
382:; the lectures later became
341:Institute for Advanced Study
193:, a slightly older student,
160:
136:Early Netherlandish Painting
7:
2502:New York University faculty
1670:, and Maciej Jan Jasiński,
1447:. Harvard University Press.
1430:. New York: Meridian Books.
970:"Der Fund im Panzerschrank"
568:in this way?" or "Why was
372:Medieval Academy of America
259:Ludwig Heinrich Heydenreich
147:(1955), and his 1943 study
10:
2583:
2567:German philosophers of art
2512:Harvard University faculty
2218:Master of the Prodigal Son
2203:Master of the LĂĽbeck Bible
1461:Meaning in the Visual Arts
1194:Erwin Panofsky (1892-1968)
1146:"Streets at the Institute"
833:Metropolitan Museum of Art
787:(1956), with Dora Panofsky
366:. In 1962 he received the
307:American years (from 1931)
145:Meaning in the Visual Arts
31:
2391:Netherlandish Renaissance
2338:
2297:
2231:
1944:
1933:
1791:Resources in your library
1767:Resources in your library
1514:Panofsky, Erwin (1965) .
1441:Panofsky, Erwin (1958) .
1424:Panofsky, Erwin (1957) .
749:Abbey Church of St.-Denis
646:
631:Style and the Film Medium
299:), based on the ideas of
182:, who was filling in for
82:
60:
48:
41:
34:Panofsky (disambiguation)
2421:Nativity of Jesus in art
1831:Archives of American Art
1565:Panofsky, Erwin (1969).
1458:Panofsky, Erwin (1955).
1374:Erwin Panofsky (1955) .
1357:Panofsky, Erwin (1939).
1327:Panofsky, Erwin (1991).
1300:Panofsky, Erwin (1968).
703:
1926:Early Netherlandish art
1806:Works by Erwin Panofsky
1699:Lavin, Irving, editor,
1662:Bibliographical sources
1284:The Premodern Condition
755:Northwestern University
665:Gauvin Alexander Bailey
448:Wolfgang K. H. Panofsky
2255:Geertgen tot Sint Jans
2113:Vrancke van der Stockt
1869:Cite journal requires
1733:Wuttke, Dieter (Ed.),
1722:March 3, 2020, at the
1654:(in Latin and German).
1278:April 9, 2009, at the
1192:Dieter Wuttke (2017).
840:Posthumously published
751:and Its Art Treasures,
529:
425:, the former based on
223:
114:) was a German-Jewish
2467:German art historians
2416:Adoration of the Magi
2123:Rogier van der Weyden
2118:Goswin van der Weyden
1829:at the Smithsonian's
1827:Erwin Panofsky Papers
1708:Three essays on style
1597:Three Essays on Style
1230:Three Essays on Style
846:Three Essays on Style
825:, Mostly Iconographic
513:
472:Princeton, New Jersey
452:particle accelerators
345:Princeton, New Jersey
325:Dorothea "Dora" Mosse
289:University of Hamburg
269:Willibald Sauerländer
170:Panofsky was born in
112:Princeton, New Jersey
110:– March 14, 1968, in
94:Princeton, New Jersey
55:Panofsky in the 1920s
2457:Writers from Hanover
2386:Northern Renaissance
2381:International Gothic
2260:Jan Joest van Calcar
2235:Northern Netherlands
2232:Active mainly in the
2103:Aert van den Bossche
1948:Southern Netherlands
1945:Active mainly in the
1685:Holly, Michael Ann,
1678:9 (2024), pp. 1–36.
1360:Studies in Iconology
1306:. Harper & Row.
1068:search.amphilsoc.org
1064:"APS Member History"
858:William S. Heckscher
731:Studies in Iconology
727:in Hamburg, 1924–25.
534:Studies in Iconology
460:William S. Heckscher
407:Northern Renaissance
337:Princeton University
285:University of Munich
281:University of Berlin
225:Habilitationsschrift
149:The Life and Art of
133:and his masterpiece
106:(March 30, 1892, in
29:German art historian
2411:Ghent-Bruges school
2366:Guild of Saint Luke
2238:(mostly present-day
1998:Melchior Broederlam
1951:(mostly present-day
1935:Early Netherlandish
1730:, Lee Sorensen, ed.
856:, with a memoir by
682:, in books such as
635:In his 1936 essay "
446:. His younger son,
333:New York University
317:Nazis came to power
313:New York University
264:SĂĽddeutsche Zeitung
191:Freiburg University
2396:Northern Mannerism
2356:Flemish Primitives
2163:Master of Affligem
2063:Cornelis Liefrinck
2058:Adriaen Isenbrandt
1493:. Pantheon Books.
1290:6:1 (Winter 2007).
1044:. February 9, 2023
976:, August 31, 2012.
894:arthistorians.info
657:Panofsky-Professur
530:
525:Arnolfini Portrait
402:Arnolfini Portrait
380:Harvard University
215:Adolph Goldschmidt
2472:Jewish historians
2429:
2428:
2401:Antwerp Mannerism
2376:Netherlandish art
2293:
2292:
2275:Master of Alkmaar
2158:Jacob van Utrecht
2153:Bernard van Orley
2148:Lieven van Lathem
2108:Hugo van der Goes
1983:Lancelot Blondeel
1852:Peter Barenboim.
1821:Books and Writers
1815:Petri Liukkonen.
1780:By Erwin Panofsky
1748:Library resources
1692:Ferretti, Sylvia,
1652:978-3-8260-6260-5
1644:VersĂĽbertragungen
1166:Panofsky, Erwin.
990:, 31 August 2012.
937:Chartier, Roger.
831:delivered at the
812:Raymond Klibansky
725:Warburg Institute
710:
528:(1434, pictured).
496:Warburg Institute
287:, and finally to
246:safe in Munich's
101:
100:
16:(Redirected from
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2250:Hieronymus Bosch
2128:Jan van Dornicke
2048:Gerard Horenbout
1978:Ambrosius Benson
1968:Alexander Bening
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900:on March 3, 2020
896:. Archived from
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696:from Panofsky's
684:The Rules of Art
669:Caroline van Eck
661:Victor Stoichita
609:Christian images
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2043:Jan Gossaert
2028:Jean Delemer
2023:Gerard David
1993:Dieric Bouts
1973:Simon Bening
1862:cite journal
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898:the original
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821:Problems in
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88:(1968-03-14)
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2241:Netherlands
2033:Jan de Beer
1152:January 25,
1121:January 25,
1022:January 25,
689:Distinction
677:sociologist
641:text online
625:theological
549:iconography
542:Last Supper
516:iconography
488:Aby Warburg
456:meteorology
217:in Berlin.
211:World War I
127:iconography
120:Nazi regime
2436:Categories
1848:2.1 (2015)
1810:Faded Page
943:Mentalités
871:References
816:Fritz Saxl
621:liturgical
590:Otto Pächt
500:Fritz Saxl
492:Fritz Saxl
67:1892-03-30
2330:The Hague
2315:Brussels
1537:. Abrams.
1073:April 14,
1048:April 14,
904:March 25,
586:iconology
560:iconology
520:iconology
494:, at the
484:iconology
478:Iconology
195:Kurt Badt
161:Biography
77:, Germany
1812:(Canada)
1726:in the
1720:Archived
1276:Archived
1095:July 26,
757:in 1938.
667:(2017),
663:(2016),
617:biblical
570:St. Mark
553:St. Mark
172:Hannover
143:(1939),
108:Hannover
75:Hannover
18:Panofsky
2339:General
2325:Tournai
2305:Antwerp
1954:Belgium
1937:artists
1891:345–66.
747:on the
694:habitus
427:Erasmus
370:of The
255:Hamburg
240:Raphael
2310:Bruges
1750:about
1650:
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1273:Review
1242:
823:Titian
793:(1960)
781:(1955)
763:(1951)
743:Abbot
739:(1943)
733:(1939)
717:(1924)
647:Legacy
358:, the
354:, the
321:Jewish
176:Abitur
2320:Ghent
1844:, in
1674:. In
1625:(PDF)
1405:Suger
1381:(PDF)
1334:(PDF)
1286:, in
1212:, in
1016:(PDF)
876:Notes
745:Suger
704:Works
411:DĂĽrer
1875:help
1648:ISBN
1602:ISBN
1575:ISBN
1495:ISBN
1466:ISBN
1385:ISBN
1338:ISBN
1308:ISBN
1240:ISBN
1154:2017
1123:2017
1097:2015
1075:2023
1050:2023
1024:2017
906:2016
814:and
686:and
623:and
611:and
518:and
442:and
419:and
335:and
244:Nazi
96:, US
83:Died
61:Born
1808:at
532:In
429:'s
399:'s
378:at
343:in
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