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oapen-20.500.12657-882442024-03-28T14:02:51Z Chapter 8 Zofia Ameisenowa, William S. Heckscher and ‘The Genesis of Iconology’ (Bonn 1964) Kunińska, Magdalena art history,iconology,center,centre,periphery,Poland,methodology,politics,Warburg Institute,communism,Europe,Marxism,Soviet Union,Soviet bloc,social realism,Estonia,Czechoslovakia,German Democratic Republic,Germany,Romania,Western Europe,Eastern Europe,art historian,intellectual history,oppression,Central Europe,architecture,Godefridus Johannes Hoogewerff,Ernst H. Kantorowicz,Hans Sedlmayr,Jan Białostocki,Zofia Ameisenowa,Lech Kalinowski,Erwin Panofsky,Mikhail Liebmann,Mikhail Sokolov,Prague,Helga Sciurie,Jena,Friedrich Mobius thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Marxist iconology’. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology’s reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania. The book will be of interest to scholars working in art history, visual studies, and historiography. 2024-03-07T14:36:20Z 2024-03-07T14:36:20Z 2024 chapter 9780367684341 9780367684358 https://library.oapen.org/handle/20.500.12657/88244 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781003137528_10.4324_9781003137528-10.pdf Taylor & Francis Art Historiography and Iconologies Between West and East Routledge 10.4324/9781003137528-10 10.4324/9781003137528-10 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb db793fac-dede-4499-994d-1fb06b804ffc 6a044850-f30f-4ed8-a4a5-8b5b4c45af59 9780367684341 9780367684358 European Research Council (ERC) Routledge 11 European Research Council (ERC) open access
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This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology.
Methods that differed from the ‘canonised’ approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky’s work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a ‘Marxist iconology’. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology’s reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania.
The book will be of interest to scholars working in art history, visual studies, and historiography.
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