Erwin Panofsky's Perspective as Symbolic Form is one of the great works of modern intellectual history, the legendary text that has dominated all art historical and philosophical discussions on the topic of perspective in this century. Finally available in English, it is an unrivaled example of Panofsky's early method that placed him within broader developments in theories of knowledge and cultural change. Here, drawing on a massive body of learning that ranges over Antique philosophy, theology, science, and optics as well as the history of art, Panofsky produces a type of "archaeology" of Western representation that far surpasses the usual scope of art historical studies. Perspective in Panofsky's hands becomes a central component of a Western "will to form," the expression of a schema linking the social, cognitive, psychological, and especially technical practices of a given culture into harmonious and integrated wholes. Yet the perceptual schema of each historical culture or epoch is different, and each gives rise to a different but equally full vision of the world. Panofsky articulates these different spatial systems, demonstrating their particular coherence and compatibility with the modes of knowledge, belief, and exchange that characterized the cultures in which they arose. Our own modernity, Panofsky shows, is characterized by its peculiarly mathematical expression of the concept of the infinite, within a space that is necessarily both continuous and homogeneous.
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Christopher S. Wood is Professor in the Department of History of Art, Yale University. He is the author of Albrecht Altdorfer and the Origins of Landscape, and the editor of The Vienna School Reader: Politics and Art Historical Method in the 1930s (Zone Books, 2000).
Text: English (translation)
Original Language: German
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Condition: Sehr gut. 200 p In very good condition. - Introduction -- by Christoplier S. Wood -- Panofsky's early theoretical voice has proved both resonant and elusive. This capacious essay on perspective, in particular, enjoys a reputation well outside the professional territory of art history. Yet that reputation has often overwhelmed the finer modulations of Panofsky's argument and obscured its theoretical provenance. To listen to the voice of the perspective essay again, to attend to its undertones, is a project of more than merely biographical interest. Panofsky, who was born in 1892, belonged already to a second generation of German critics of positivistic historical scholarship. These critics generally shared a vision of a more comprehensive Science of culture, a scholarly practice that would seek to understand and not simply to accumulate data. Panofsky also belonged to a subset of critics sensitive to the inevitable deficiency of cultural history, namely the underestimation or neglect of a dimension of mean- ing proper to certain kinds of objects (texts, images), a dimension intrac- table to historical explanation. Artistic products, Panofsky wrote in 1920, "are not Statements by subjects, but formulations of material, not events but results."1 Any historical treatment would have to acknowl- edge the autonomy of such an object, the impossibility of deriving the object from its phenomenal circumstances. This was the necessary first stage of any nonmaterialist cultural history. [] ISBN 9780942299526 Sprache: Englisch Gewicht in Gramm: 468 Original cloth with dustjacket. Seller Inventory # 1226201
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