Эрвин Панофский: өнертанушының өмірі мен еңбектері
Erwin Panofsky
Эрвин Панофский – неміс сурет тарихшысы, иконографияны зерттеудегі сарапшы. Ренессанс және сол кезең суреттері туралы еңбектері әйгілі. Тарих пен өнерді байланыстырды.
Ағылшыншамен салыстырыңыз: абзацты басыңыз — түпнұсқа терезеде ашылады. Абзац астындағы EN түймесі оны мәтін ішінде көрсетеді.
Мазмұны
Кіріспе
Неміс өнер тарихшысы Эрвин Панофский (30 наурыз 1892, Ганноверде туған – 14 наурыз 1968, Принстон, Нью-Джерсиде қайтыс болған) – неміс еврей өнер тарихшысы, академиялық мансабының көп бөлігін нацистік режимнің билікке келуінен кейін АҚШ-та жалғастырған. Оның еңбектері иконографияны қазіргі заманғы академиялық тұрғыдан зерттеудегі ең жоғалған деңгейді көрсетеді, соның ішінде оның өте ықпалды «Батыс өнеріндегі Ренессанс және Жаңа Ренессанс» және «Ерте Нидерланд сурет салуы» шедеврлері бар. Оның еңбегіндегі ерекшелік – сурет өнер туындыларын түсіндіру үшін тарихи идеяларды пайдалануы және керісінше.
German art historian
Erwin Panofsky (March 30, 1892, in Hannover – March 14, 1968, in Princeton, New Jersey) was a German Jewish art historian, whose academic career was pursued mostly in the U. S. after the rise of the Nazi regime. His work represents a high point in the modern academic study of iconography, including his hugely influential Renaissance and Renascences in Western Art and his masterpiece Early Netherlandish Painting. particularly in his use of historical ideas to interpret artworks and vice versa.
Еуропалық жылдар
Панофский Ганноверде Силезияның бай еврей кенші отбасында дүниеге келді. Ол Берлинде өсті және 1910 жылы Жоахимстальш гимназиясында Абитур емтиханын тапсырды. 1910-1914 жылдары Фрайбург, Мюнхен және Берлинде заң, философия, филология және өнер тарихын оқыды, онда ол өнер тарихшысы Маргарете Бибердің дәрістерін тыңдады, ол Георг Лешкеге орын басып тұрған болатын. Фрайбург университетінде оқып жүрген кезде, Панофскийден сәл үлкен Курт Бадт оны өнер тарихы кафедрасын құрған Вильгельм Вогенің дәрісіне алып барды, оның жетекшілігімен 1914 жылы диссертациясын қорғады. Оның тақырыбы – «Дюрердің көркемдік теориясы» (Dürers Kunsttheorie: vornehmlich in ihrem Verhaltnis zur Kunsttheorie der Italiener), келесі жылы Берлинде «Альбрехт Дюрердің теориялық өнер тануы» (Die Theoretische Kunstlehre Albrecht Dürers) деген атпен жарияланды. Аттан құлағаннан кейін Панофский Бірінші дүниежүзілік соғыс кезінде әскери қызметтен босатылды және осы уақытты Берлиндегі ортағасырлық зерттеуші Адольф Голдшмидттың семинарларына қатысуға пайдаланды. Панофскийдің «Микеланджелоның композициялық принциптері, әсіресе Рафаэльдің принциптерімен салыстырылғанда» («Die Gestaltungsprinzipien Michelangelos, besonders in ihrem Verhältnis zu denen Raffaels») атты екінші диссертациясының (Habilitationsschrift) түпнұсқа қолжазбасы 2012 жылдың тамызында өнер тарихшысы Стефан Клинген тарапынан Мюнхендегі Zentralinstitut für Kunstgeschichte-дегі ескі нацистік сейфтен табылған. Бұл қолжазбаның 1943/44 жылдары Гамбургте жоғалып кеткені жөнінде бұрыннан болжам жасалған, себебі бұл маңызды зерттеу ешқашан жарияланбаған және өнер тарихшысының әйелі оны Гамбургте таба алмаған. Өнер тарихшысы Людвиг Генрих Хайденрайх, Панофскийдің шәкірті, 1946 жылдан 1970 жылға дейін осы қолжазбаны өзінде сақтап тұрған болуы мүмкін. Süddeutsche Zeitung газетінде Виллибальд Сауэрландер Хайденрайхтың қолжазбаны қайтарып алғаны туралы мәселеге түсінік берді: «Панофский Микеланджело туралы ерте жазбаларынан тарихи тұрғыдан алшақтады, себебі ол бұл тақырыптан жалықты және (Сауэрландердің сөзінше) австро-венгрлік өнер тарихшысы Йоханнес Вильдемен кәсіби қақтығысқа түсті, ол Панофскийді Микеланджелоның суреттері туралы әңгімелерінен алынған идеяларын мойындамағаны үшін айыптады. Мүмкін, Панофский жоғалған жұмысының қайда екендігіне мән бермеген шығар, ал Хайденрайх оны құпия ұстауға тырыспаған шығар, бірақ әлі де көп сұрақтар қалды». Панофскийдің өнер тарихындағы академиялық мансабы оны Берлин, Мюнхен университеттеріне және, ақыры, Гамбург университетіне жеткізді, онда ол 1920-1933 жылдары сабақ берді. Осы кезеңде оның өнер тарихы бойынша алғашқы маңызды еңбектері жарық көрді. Маңызды ертедегі еңбектерінің бірі – Эрнст Кассирдің идеяларына негізделген «Идея: Ескі өнер теориясының түсініктер тарихына үлес» (1924; ағылшын тіліне «Идея: Өнер теориясындағы тұжырымдама» деп аударылған).
Panofsky was born in Hannover to a wealthy Jewish Silesian mining family. He grew up in Berlin, receiving his Abitur 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 Margarete Bieber, who was filling in for Georg Loeschcke. While Panofsky was taking courses at Freiburg University, a slightly older student, Kurt Badt, took him to hear a lecture by the founder of the art history department, Wilhelm Vöge, under whom he wrote his dissertation in 1914. His topic, Dürer's artistic theory Dürers Kunsttheorie: vornehmlich in ihrem Verhaltnis zur Kunsttheorie der Italiener was published the following year in Berlin as Die Theoretische Kunstlehre Albrecht Dürers. Because of a horse riding accident, Panofsky was exempted from military service during World War I, using the time to attend the seminars of the medievalist Adolph Goldschmidt in Berlin. The original 1920 manuscript of Panofsky's Habilitationsschrift, his second dissertation, which is titled "Die Gestaltungsprinzipien Michelangelos, besonders in ihrem Verhältnis zu denen Raffaels" ("The Composition Principles of Michelangelo, particularly in their relation to those of Raphael"), was found in August 2012 by art historian Stephan Klingen in an old Nazi safe in Munich's Zentralinstitut für Kunstgeschichte. It had long been assumed that this manuscript was lost in 1943/44 in Hamburg, 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 Ludwig Heinrich Heydenreich, who had studied under Panofsky, was in the possession of this manuscript from 1946 to 1970. In the Süddeutsche Zeitung, Willibald Sauerländer 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 Austro Hungarian art historian Johannes Wilde, 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." Panofsky's academic career in art history took him to the University of Berlin, University of Munich, and finally to University of Hamburg, 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 Idea: Ein Beitrag zur Begriffsgeschichte der älteren Kunstheorie (1924; translated into English as Idea: A Concept in Art Theory), based on the ideas of Ernst Cassirer.
Америка жылдары (1931 жылдан бастап)
Панофский алғаш рет 1931 жылы Нью-Йорк университетінде оқыту үшін АҚШ-қа келді. Бастапқыда Гамбург пен Нью-Йоркте кезектесіп оқуға рұқсат берілсе де, Германияда нацистер билікке келгеннен кейін Гамбургтегі қызметі еврей болғандықтан тоқтатылды. Ол өзінің өнер тарихшысы әйелі Доротея "Дора" Мосспен (1916 жылдан бастап) АҚШ-та тұрақты қоныстанды. Олар бірге Калер тобының құрамына кірді. 1934 жылы ол Нью-Йорк және Принстон университеттерінде бірдей оқытты, ал 1935 жылы Нью-Джерси штатының Принстон қаласындағы жаңа Зерттеу институтының профессоры болып тағайындалды, және оның қызметі осы институтта өмір бойына жалғасты. 1999 жылы институттың профессорларға арналған тұрғын үй кешенінде оның құрметіне "Панофский аллеясы" ашылды. Панофский Американың өнер және ғылым академиясының, Америка философиялық қоғамының, Ұлыбритания академиясының және басқа да көптеген ұлттық академиялардың мүшесі болды. 1954 жылы Нидерланды Корольдік өнер және ғылым академиясының шетелдік мүшесі болып сайланды. 1962 жылы Американың Орта ғасырлар академиясының Хаскинс медалін алды. 1947–1948 жылдары Гарвард университетінде Чарльз Элиот Нортон профессоры болды, оқыған лекциялары кейін "Ерте Нидерланд суреті" деген атпен жарияланды. Ол өнердегі символдар мен иконографияны зерттеуімен әсіресе танымал болды. 1934 жылғы мақаласында, содан кейін 1953 жылғы "Ерте Нидерланд суреті" еңбегінде Панофский Ян ван Эйктің "Арнольфини портретін" (1934) әуелі тек неке тойының бейнесі емес, сонымен қатар неке шартты растайтын визуалды келісімшарт ретінде интерпретациялады. Панофский некеге байланысты көптеген жасырын символдарды анықтады. Соңғы жылдары бұл тұжырымға қарсы пікірлер айтылса да, Панофскийдің "жасырын" немесе "жасырылған" символизм деп атаған жұмысы Солтүстік Ренессанс өнерін зерттеу мен түсінуде әлі де маңызды рөл атқарады. Дюрерге арналған монографиясында Панофский "Рыцарь, Өлім және Ібіліс" және "Меланхолия I" гравюраларына терең "символикалық" талдау жасады, ал бұл талдау Эразмның "Христиан рыцарының нұсқаулығына" негізделген. Панофский физиктер Вольфганг Паули мен Альберт Эйнштейнмен жақын дос болды. Оның кіші ұлы Вольфганг К. Х. Панофский бөлшектер үдеткіштерін зерттеген танымал физик болды, ал үлкен ұлы Ханс А. Панофский "Пенсильвания мемлекеттік университетінде 30 жыл бойы сабақ берген атмосфера ғалымы болды және метеорологияны зерттеуде көптеген жаңалықтар ашты". Вольфганг Панофскийдің айтуынша, әкесі ұлдарын "meine beiden Klempner" ("менің екі сантехникім") деп атаған. Уильям С. Хекшер оның студенті, эмигрант және жақын досы болды. 1973 жылы Принстон университетіндегі оның орнын Ирвинг Лавин басты. Эрвин Панофский Принстон, Нью-Джерси штатындағы Жоғары оқу институтының "өте көрнекті" профессоры және Джеффри Чипстің биографиясында "20 ғасырдың ең ықпалды өнер тарихшысы" деп танылды. 1999 жылы осы институттың профессорларға арналған тұрғын үй кешеніндегі жаңа "Панофский аллеясы" оның құрметіне аталды.
Panofsky first came to the United States in 1931 to teach at New York University. Although initially allowed to spend alternate terms in Hamburg and New York City, after the Nazis came to power in Germany his appointment in Hamburg was terminated because he was Jewish, and he remained permanently in the United States with his art historian wife (since 1916), Dorothea "Dora" Mosse (1885–1965). He and his wife became part of the Kahler Kreis. By 1934 he was teaching concurrently at New York University and Princeton University, and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton, New Jersey, where he remained for the rest of his career. In 1999, "Panofsky Lane", named in his honor, was created in the institute's faculty housing complex. Panofsky was a member of the American Academy of Arts and Sciences, the American Philosophical Society, the British Academy and a number of other national academies. In 1954 he became foreign member of the Royal Netherlands Academy of Arts and Sciences. In 1962 he received the Haskins Medal of The Medieval Academy of America. In 1947–1948 Panofsky was the Charles Eliot Norton professor at Harvard University; the lectures later became Early Netherlandish Painting. He became particularly well known for his studies of symbols and iconography in art. First in a 1934 article, then in his Early Netherlandish Painting (1953), Panofsky was the first to interpret Jan van Eyck's Arnolfini Portrait (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 Northern Renaissance art. Similarly, in his monograph on Dürer, Panofsky gives lengthy "symbolic" analyses of the prints Knight, Death, and the Devil and Melencolia I, the former based on Erasmus's Handbook of a Christian Knight. Panofsky was known to be a friend with physicists Wolfgang Pauli and Albert Einstein. His younger son, Wolfgang K. H. Panofsky, became a renowned physicist who specialized in particle accelerators. 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 meteorology". As Wolfgang Panofsky related, his father used to call his sons "meine beiden Klempner" ("my two plumbers"). William S. Heckscher was a student, fellow emigre, and close friend. In 1973 he was succeeded at Princeton by Irving Lavin. Erwin Panofsky has been recognized as both a "highly distinguished" professor at the Institute for Advanced Study, Princeton, New Jersey, 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. 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 Last Supper. 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. Secondary or conventional subject matter (iconography): 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 St. Mark. Tertiary or intrinsic meaning or content (iconology): 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 The Last Supper in this way?" or "Why was St. Mark 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?" For Panofsky, it was important to consider all three strata as one examines Renaissance art. Irving Lavin 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." The method of iconology, which had developed following Erwin Panofsky, has been critically discussed since the mid 1950s, in part also strongly (Otto Pächt, Svetlana Alpers). However, among the critics, no one has found a model of interpretation that could completely replace that of Panofsky. As regards the interpretation of Christian art, that Panofsky researched throughout his life, the iconographic interest in texts as possible sources remains important, because the meaning of Christian images and architecture is closely linked to the content of biblical, liturgical and theological texts, which were usually considered authoritative by most patrons, artists and viewers.
Негізгі немесе табиғи мазмұн: Түсінудің ең қарапайым деңгейі – бұл шығарманың таза формасын қабылдау. Мысалы, Соңғы кешкі ас суретін қарастырайық. Егер біз осы бірінші деңгейде тоқтасақ, мұндай сурет тек үстелге отырған 13 адамның суреті ретінде қабылданады. Бұл бірінші деңгей – шығарманы түсінудің ең қарапайым деңгейі, оған қосымша мәдени білім қосылмайды.
Panofsky first came to the United States in 1931 to teach at New York University. Although initially allowed to spend alternate terms in Hamburg and New York City, after the Nazis came to power in Germany his appointment in Hamburg was terminated because he was Jewish, and he remained permanently in the United States with his art historian wife (since 1916), Dorothea "Dora" Mosse (1885–1965). He and his wife became part of the Kahler Kreis. By 1934 he was teaching concurrently at New York University and Princeton University, and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton, New Jersey, where he remained for the rest of his career. In 1999, "Panofsky Lane", named in his honor, was created in the institute's faculty housing complex. Panofsky was a member of the American Academy of Arts and Sciences, the American Philosophical Society, the British Academy and a number of other national academies. In 1954 he became foreign member of the Royal Netherlands Academy of Arts and Sciences. In 1962 he received the Haskins Medal of The Medieval Academy of America. In 1947–1948 Panofsky was the Charles Eliot Norton professor at Harvard University; the lectures later became Early Netherlandish Painting. He became particularly well known for his studies of symbols and iconography in art. First in a 1934 article, then in his Early Netherlandish Painting (1953), Panofsky was the first to interpret Jan van Eyck's Arnolfini Portrait (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 Northern Renaissance art. Similarly, in his monograph on Dürer, Panofsky gives lengthy "symbolic" analyses of the prints Knight, Death, and the Devil and Melencolia I, the former based on Erasmus's Handbook of a Christian Knight. Panofsky was known to be a friend with physicists Wolfgang Pauli and Albert Einstein. His younger son, Wolfgang K. H. Panofsky, became a renowned physicist who specialized in particle accelerators. 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 meteorology". As Wolfgang Panofsky related, his father used to call his sons "meine beiden Klempner" ("my two plumbers"). William S. Heckscher was a student, fellow emigre, and close friend. In 1973 he was succeeded at Princeton by Irving Lavin. Erwin Panofsky has been recognized as both a "highly distinguished" professor at the Institute for Advanced Study, Princeton, New Jersey, 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. 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 Last Supper. 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. Secondary or conventional subject matter (iconography): 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 St. Mark. Tertiary or intrinsic meaning or content (iconology): 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 The Last Supper in this way?" or "Why was St. Mark 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?" For Panofsky, it was important to consider all three strata as one examines Renaissance art. Irving Lavin 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." The method of iconology, which had developed following Erwin Panofsky, has been critically discussed since the mid 1950s, in part also strongly (Otto Pächt, Svetlana Alpers). However, among the critics, no one has found a model of interpretation that could completely replace that of Panofsky. As regards the interpretation of Christian art, that Panofsky researched throughout his life, the iconographic interest in texts as possible sources remains important, because the meaning of Christian images and architecture is closely linked to the content of biblical, liturgical and theological texts, which were usually considered authoritative by most patrons, artists and viewers.
Екінші немесе дәстүрлі мазмұн (иконография): Бұл деңгей бір қадам ары қарай барып, мәдени және иконографиялық білімді салыстыруға мүмкіндік береді. Мысалы, батыстық көрермен 13 адамның үстел айналасындағы суреті Соңғы кешкі ас екенін түсінеді. Сол сияқты, шапалақ тағылған, арыстанмен бірге бейнеленген адамның суреті киелі Марк ретінде түсіндірілуі мүмкін.
Panofsky first came to the United States in 1931 to teach at New York University. Although initially allowed to spend alternate terms in Hamburg and New York City, after the Nazis came to power in Germany his appointment in Hamburg was terminated because he was Jewish, and he remained permanently in the United States with his art historian wife (since 1916), Dorothea "Dora" Mosse (1885–1965). He and his wife became part of the Kahler Kreis. By 1934 he was teaching concurrently at New York University and Princeton University, and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton, New Jersey, where he remained for the rest of his career. In 1999, "Panofsky Lane", named in his honor, was created in the institute's faculty housing complex. Panofsky was a member of the American Academy of Arts and Sciences, the American Philosophical Society, the British Academy and a number of other national academies. In 1954 he became foreign member of the Royal Netherlands Academy of Arts and Sciences. In 1962 he received the Haskins Medal of The Medieval Academy of America. In 1947–1948 Panofsky was the Charles Eliot Norton professor at Harvard University; the lectures later became Early Netherlandish Painting. He became particularly well known for his studies of symbols and iconography in art. First in a 1934 article, then in his Early Netherlandish Painting (1953), Panofsky was the first to interpret Jan van Eyck's Arnolfini Portrait (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 Northern Renaissance art. Similarly, in his monograph on Dürer, Panofsky gives lengthy "symbolic" analyses of the prints Knight, Death, and the Devil and Melencolia I, the former based on Erasmus's Handbook of a Christian Knight. Panofsky was known to be a friend with physicists Wolfgang Pauli and Albert Einstein. His younger son, Wolfgang K. H. Panofsky, became a renowned physicist who specialized in particle accelerators. 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 meteorology". As Wolfgang Panofsky related, his father used to call his sons "meine beiden Klempner" ("my two plumbers"). William S. Heckscher was a student, fellow emigre, and close friend. In 1973 he was succeeded at Princeton by Irving Lavin. Erwin Panofsky has been recognized as both a "highly distinguished" professor at the Institute for Advanced Study, Princeton, New Jersey, 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. 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 Last Supper. 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. Secondary or conventional subject matter (iconography): 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 St. Mark. Tertiary or intrinsic meaning or content (iconology): 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 The Last Supper in this way?" or "Why was St. Mark 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?" For Panofsky, it was important to consider all three strata as one examines Renaissance art. Irving Lavin 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." The method of iconology, which had developed following Erwin Panofsky, has been critically discussed since the mid 1950s, in part also strongly (Otto Pächt, Svetlana Alpers). However, among the critics, no one has found a model of interpretation that could completely replace that of Panofsky. As regards the interpretation of Christian art, that Panofsky researched throughout his life, the iconographic interest in texts as possible sources remains important, because the meaning of Christian images and architecture is closely linked to the content of biblical, liturgical and theological texts, which were usually considered authoritative by most patrons, artists and viewers.
Үшінші немесе ішкі мағына немесе мазмұн (иконология): Бұл деңгей шығарманы түсіну үшін жеке, техникалық және мәдени тарихты ескереді. Ол өнерді оқшауланған оқиға ретінде емес, тарихи ортаның өнімі ретінде қарастырады. Осы деңгейде жұмыс істейтін өнер тарихшысы "неге суретші Соңғы кешкі ас суретін осылай бейнелеген?" немесе "Бұл еңбектің тапсырыс берушісі үшін Марк қасиеттісі неге соншалықты маңызды болды?" сияқты сұрақтар қоя алады. Қысқасы, соңғы деңгей – синтез, өнер тарихшысы "мұның бәрі нені білдіреді?" деп сұрайды. Панофский үшін Ренессанс өнерін зерттегенде барлық үш деңгейді қарастыру маңызды болды. Ирвинг Лавин "осы мәнге деген талап, оның іздеуі, әсіресе ешкім күмәнданбаған жерлерде, Панофскийді өнерді бұрынғы тарихшылар сияқты дәстүрлі гуманитарлық ғылымдармен теңдестіретін интеллектуалды күш-жігер ретінде түсінуге итермеледі" деді. Эрвин Панофскийден кейін дамыған иконология әдісі 1950 жылдардың ортасынан бері сынға ұшырады (Отто Пэхт, Светлана Алперс және т.б.). Алайда, сыншылардың ешқайсысы Панофскийдің интерпретациялық моделін толығымен алмастыратын модельді таба алмады. Христиан өнерін интерпретациялауға қатысты, Панофский өмірі бойы зерттеген иконографиялық мәтіндерге деген қызығушылық маңызды болып қалады, себебі христиандық бейнелер мен сәулеттің мағынасы Киелі кітаптардың, діни қызметтердің және теологиялық мәтіндердің мазмұнымен тығыз байланысты, олар көптеген тапсырыс берушілер, суретшілер және көрермендер үшін авторитетті деп есептелді.
Panofsky first came to the United States in 1931 to teach at New York University. Although initially allowed to spend alternate terms in Hamburg and New York City, after the Nazis came to power in Germany his appointment in Hamburg was terminated because he was Jewish, and he remained permanently in the United States with his art historian wife (since 1916), Dorothea "Dora" Mosse (1885–1965). He and his wife became part of the Kahler Kreis. By 1934 he was teaching concurrently at New York University and Princeton University, and in 1935 he was invited to join the faculty of the new Institute for Advanced Study in Princeton, New Jersey, where he remained for the rest of his career. In 1999, "Panofsky Lane", named in his honor, was created in the institute's faculty housing complex. Panofsky was a member of the American Academy of Arts and Sciences, the American Philosophical Society, the British Academy and a number of other national academies. In 1954 he became foreign member of the Royal Netherlands Academy of Arts and Sciences. In 1962 he received the Haskins Medal of The Medieval Academy of America. In 1947–1948 Panofsky was the Charles Eliot Norton professor at Harvard University; the lectures later became Early Netherlandish Painting. He became particularly well known for his studies of symbols and iconography in art. First in a 1934 article, then in his Early Netherlandish Painting (1953), Panofsky was the first to interpret Jan van Eyck's Arnolfini Portrait (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 Northern Renaissance art. Similarly, in his monograph on Dürer, Panofsky gives lengthy "symbolic" analyses of the prints Knight, Death, and the Devil and Melencolia I, the former based on Erasmus's Handbook of a Christian Knight. Panofsky was known to be a friend with physicists Wolfgang Pauli and Albert Einstein. His younger son, Wolfgang K. H. Panofsky, became a renowned physicist who specialized in particle accelerators. 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 meteorology". As Wolfgang Panofsky related, his father used to call his sons "meine beiden Klempner" ("my two plumbers"). William S. Heckscher was a student, fellow emigre, and close friend. In 1973 he was succeeded at Princeton by Irving Lavin. Erwin Panofsky has been recognized as both a "highly distinguished" professor at the Institute for Advanced Study, Princeton, New Jersey, 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. 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 Last Supper. 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. Secondary or conventional subject matter (iconography): 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 St. Mark. Tertiary or intrinsic meaning or content (iconology): 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 The Last Supper in this way?" or "Why was St. Mark 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?" For Panofsky, it was important to consider all three strata as one examines Renaissance art. Irving Lavin 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." The method of iconology, which had developed following Erwin Panofsky, has been critically discussed since the mid 1950s, in part also strongly (Otto Pächt, Svetlana Alpers). However, among the critics, no one has found a model of interpretation that could completely replace that of Panofsky. As regards the interpretation of Christian art, that Panofsky researched throughout his life, the iconographic interest in texts as possible sources remains important, because the meaning of Christian images and architecture is closely linked to the content of biblical, liturgical and theological texts, which were usually considered authoritative by most patrons, artists and viewers.
Стиль және кино ортасы
1936 жылы жазылған «Кинодағы стиль және орта» атты эссесінде Панофский фильм өнеріне тән визуалды белгілерді сипаттауға ұмтылады.
In his 1936 essay "Style and Medium in the Motion Pictures (text online), Panofsky seeks to describe the visual symptoms endemic" to the medium of film.
Мұра
2016 жылы Мюнхендегі Zentralinstitut für Kunstgeschichte (Сән тарихының орталық институты) Панофский профессурасын (Панофский профессорасы) құрды. Алғашқы Панофский профессорлары Виктор Стоичита (2016), Гаувин Александр Бейли (2017), Каролина ван Эк (2018) және Оливье Бонфайт (2019) болды. Оның еңбегі француз социологы Пьер Бурдьедің "Өнер ережелері" және "Ерекшелік" сияқты кітаптарында дамыған дәм талғамының теориясына зор ықпал етті. Атап айтқанда, Бурдье habitus тұжырымын алғаш рет Панофскийдің "Гот сәулеті және схоластикасы" еңбегінен бейімдеді, бұл жұмысты ол бұрын француз тіліне аударған еді.
In 2016, the Zentralinstitut für Kunstgeschichte (Central Institute for Art History) in Munich founded the Panofsky Professur (Panofsky Professorship). The first Panofsky Professors have been Victor Stoichita (2016), Gauvin Alexander Bailey (2017), Caroline van Eck (2018), and Olivier Bonfait (2019). His work has greatly influenced the theory of taste developed by French sociologist Pierre Bourdieu, in books such as The Rules of Art and Distinction. In particular, Bourdieu first adapted his notion of habitus from Panofsky's Gothic Architecture and Scholasticism, having earlier translated the work into French.