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Visual codes in art from the historical point of view . Assist. Prof. Mehmet Kahyaoğlu Yaşar University. The Venus of Willendorf 28,000 -25,000 BC Limestone, painted in red 11.1 cm Naturhistorisches Museum, Vienna. Perforated relief of King Ur- Nanshe - PowerPoint PPT Presentation
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Visual codes in art from the historical point of view.
Assist. Prof. Mehmet KahyaoğluYaşar University
The Venus of Willendorf28,000-25,000 BCLimestone, painted in red 11.1 cmNaturhistorisches Museum, Vienna
Perforated relief of King Ur-NansheUr, 3rd Dynasty (2600-2330 BC) Limestone, 39 x 46 cmLouvre Museum, Paris
Victory Stele of Naram-Sin2,254-2,218 BCLimestoneh. 2 mt. Louvre Museum, Paris
Law Code of Hammurabi, king of Babylon (detail)ca. 1,780 BCBazalth. 2.25 mt.Louvre Museum, Paris
Panofsky vs. Mannheim
Sociology of culture that Mannheim was to develop during the same period as Panofsky codified the methodology of iconography and iconology.
Both Panofsky and Mannheim start from, but seek to go beyond, Riegl’s concept of Kunstwollen in developing a theoretically coherent account of the relationship between cultural objects and their larger contexts.
The incipient sociological elements in Mannheim’s ‘Interpretation of Weltanschaung’ afforded Panofsky a more practical interpretative schema than that developed in his earlier account of the concept of Kunstwollen, but the social elements theoretically essential toMannheim’s conceptualization remain a residual category in Panofsky’s interpretive framework.
Mannheim was able to characterize ‘worldview’ in more systematically historical and sociological terms, largely by building on precisely the psychological and collective dimensions of the concept of Kunstwollen that Panofsky had rejected.
In his essay on ‘The concept of artistic volition’, Panofsky sought to establish an ‘Archimedean point’ for the interpretation of individual works of art in intrinsic terms, rather than by reference to such extrinsic phenomena as developmental stylistic or typological series.
Images are made to communicate.
Leonardo da Vinci. Last Supper. 1495–1498. Tempera on gesso, pitch and mastic. 460 cm × 880 cm. Santa Maria delle Grazie, Milan.
What does an Aborigine think of that painting?
Hieronymus Bosch. The Garden of Earthly Delights.1480-1490 or 1503-1504. Oil-on-wood triptych. 220 cm × 389 cm Museo del Prado, Madrid
Robert Capa (1913-1954). Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936
Timothy O'Sullivan, Harvest of Death (4th July, 1863)
Margeret Bourke-White (1904-1971), Gandi. 1946
Bryan Organ Diana, Princess of Wales1981Acrylic on canvas177.8 x 127 cm. National Portrait Gallery, London
Sir Joshua Reynolds. George Augustus Eliott, Lord Heathfield. 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London, UK.
Hyacinthe Rigaud. Louis XIV. 1701Oil on canvas. Musée du Louvre, Paris
J-S. Duplessis. Louis XVI. c. 1770Oil on canvas. Musée Carbavalet, Paris
Fyodor Shurpin. The Morning of Our Native Land. 1948. Oil on canvas. State Gallery of Tretyakov, Moscow.
Hunting scene from the tomb of Nebamun. c. 1350British Museum, London
Art gives clues …
Robert Capa (1913-1954). Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936
But it may not be real as it may seen…
Eugène DelacroixPaganini1831, Karton üzerine yağlıboya
Jean-Auguste-Dominique IngresPaganini1819, Karakalem
Jean-Auguste-Dominique IngresTurkish Bath1862, Tuval üzerine yağlıboya, Museé du Louvre, Paris
OBJECT OF INTERPRETATION ACT OF INTERPRETATION EQUIPMENT FOR INTERPRETATION
CORRECTIVE PRINCIPLE OF INTERPRETATION(Hist. of Tradition)
http://w3.gril.univ-tlse2.fr/Proimago/LogiCoursimage/panofsky.htm
OBJECT OF INTERPRETATION ACT OF INTERPRETATION EQUIPMENT FOR INTERPRETATION
CORRECTIVE PRINCIPLE OF INTERPRETATION(Hist. of Tradition)
I Primary or natural subject matter (A) factual, (B) expressional -
constituting the world of artistic motifs
Pre-iconographical description
Practical experience (familiarity with objects and events).
History of style (insight into the manner in which, under varying historical conditions, objects and events were expressed by forms).
OBJECT OF INTERPRETATION ACT OF INTERPRETATION EQUIPMENT FOR INTERPRETATIONCORRECTIVE PRINCIPLE OF INTERPRETATION(Hist. of Tradition)
I Primary or natural subject matter – (A) factual, (B) expressional - constituting the world of artistic motifs
Pre-iconographical description
Practical experience (familiarity with objects and events).
History of style (insight into the manner in which, under varying historical conditions, objects and events were expressed by forms).
II Secondary or conventional subject matter, constituting the world of images, stories and allegories.
Iconographical analysis
Knowledge of literary sources (familiarity with specific themes and concepts).
History of types (insight into the manner in which, under varying historical conditions specific themes or concepts were expressed by objects and events).
OBJECT OF INTERPRETATION ACT OF INTERPRETATION EQUIPMENT FOR
INTERPRETATION
CORRECTIVE PRINCIPLE OF INTERPRETATION(Hist. of Tradition)
I Primary or natural subject matter – (A) factual, (B) expressional -
constituting the world of artistic motifs
Pre-iconographical description
Practical experience (familiarity with objects and events).
History of style (insight into the manner in which, under varying historical conditions, objects and events were expressed by forms).
II Secondary or conventional subject matter, constituting the world of images, stories and allegories.
Iconographical analysis
Knowledge of literary sources (familiarity with specific themes and concepts).
History of types (insight into the manner in which, under varying historical conditions specific themes or concepts were expressed by objects and events).
III Intrinsic meaning or content, constituting the world of "symbolical" values.
Iconological interpretation
Synthetic intuition (familiarity with the essential tendencies of the human mind), conditioned by personal psychology and "Weltanschauung"
History of cultural symptoms or "symbols" in general (insight into the manner in which, under varying historical conditions, essential tendencies of the human mind were expressed by specific themes
Caravaggio, The Crucifixion of St. Peter,1601Oil on canvasSanta Maria del Popolo, Rome