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Panofsky Bibliography: The Major WorksCompiled by Joseph Connors1914Die theoretische Kunstlehre Albrecht Dürers (Dürers Aesthetick), Berlin, 19141915Dürers Kunsttheorie, vornehmlich in ihrem Verh?ltnis zur Kunsttheorie der Italiener, Berlin, 19151921“Die Entwicklung der Proportionslehre als Abbild der Stilentwicklung,” Monatshefte für Kunstwissenschaft, XIV, 1921, pp. 188ff. English translation: “The History of the Theory of Human Proportions as a Reflection of the History of Styles,” Meaning in the Visual Arts, New York, 1955, pp. 55-1071921/22“Dürers Stellung zur Antike,” Jahrbuch für Kunstgeschichte, I, 1921/22, p. 43ff. English translation: “Albrecht Dürer and Classical Antiquity,” Meaning in the Visual Arts, New York, 1955, pp. 236-2941923with Fritz Saxl, Dürers ‘Melencolia I’: Eine quellen- und Typengeschichtliche Untersuchung (Studien der Bibliothek Warburg, 2), Leipzig and Berlin, 1923 (ND 573 D93 P19). See 1964 for a much-enlarged English edition////“Der Begriff des Kunstwollens,” translated Kenneth Northcott and Joel Snyder, “The Concept of Artistic Volition,” Critical Inquiry, 8, 1981-82, pp. 17-331924Die deutsche Plastik des elften bis dreizehnten Jahrhunderts, Munich, 19241924Idea. Ein Beitrag zur Begriffsgeschichte der ?ltere Kunsttheorie (Studien der Bibliothek Warburg, 5) Leipzig and Berlin, 1924. 2nd ed., Berlin, 1960. English translation: Idea. A Concept in Art Theory, trans. Joseph Peake, University of South Carolina Press. Paperback reprint, New York, 19681924-25“Die Perspektive als symbolische Form,” Vortr?ge der Bibliothek Warburg, 1924-25, p. 258ff. English translation by Christopher Wood: Perspective as Symbolic Form, New York, 19911930“A. Warburg,” Repertorium für Kunstwissehschaft, LI, 1930, pp. 1-41930“Das erse Blatt aus dem ‘Libro’ Giorgio Vasaris; Eine Studie über die Beurteilung der Gotik in der italienischen Renaissance mit einem Exkurs über zwei Fassadenprojekte Domenico Beccafumis,” St?del-Jahrbuch, VI, 1930, p. 25ff. English translation: ““The First Page of Giorgio Vasari’s ‘Libro’,” Meaning in the Visual Arts, New York, 1955, pp. 169-2351930Hercules am Scheidewege und andere antike Bildstoffe in der neueren Kunst (Studien der Bibliothek Warburg, 18), London and Berlin, 19301915-32Deutschsprachige Aufs?tze 1915-1932, eds. Karen Michels and Martin Warnke, I, Berlin, 1998, 1933Panofsky and F. Saxl, “Classical Mythology in Mediaeval Art,” Metropolitan Museum Studies, IV, 1932-33, pp. 228-801934“Jan van Eyck’s Arnolfini Portrait,” in The Burlington Magazine, 64, 1934, pp. 117-27. Reprinted, in Renaissance Art, ed. Creighton Gilbert, New York, 1970, pp. 1-201934“What is Baroque,” lecture of 1934, in Three Essays on Style, ed. Irving Lavin, Cambridge, Mass., 1995, pp. 19-881936“On Movies,” Princeton University. Department of Art and Archaeology. Bulletin, June 1936, pp. 5-15. Enlarged version: “Style and Medium in the Motion Pictures,” Critique, i (3), 1947, pp. 5-25. Reprinted in Three Essays on Style, ed. Irving Lavin, Cambridge, Mass., 1995, pp. 91-1251936“Et in Arcadia ego. On the Conception of Transience in Poussin and Watteau,” in R. Klibansky and H.J. Paton, eds., Philosophy and History. Essays Presented to Ernst Cassirer, Oxford, 1936, pp. 223-254. Republished as “Et in Arcadio Ego: Poussin and the Elegiac Tradition,” Meaning in the Visual Arts, New York, 1955, pp. 295-3201939Studies in Iconology, New York, 19391940The Codex Huygens and Leonardo da Vinci’s Art Theory (Studies of the Warburg Institute, 13), London, 19401940“The History of Art as a Humanistic Discipline,” The Meaning of the Humanities, T.M.Greene, ed., Princeton, 1940, pp. 89ff. Reprinted in Meaning in the Visual Arts, New York, 1955, pp. 1-251943Albrecht Dürer, Princeton, 1943; 3rd ed., 1948; one volume paperback ed., 19541944“Renaissance and Renascences,” Kenyon Review, VI, 1944, p. 201ff. Expanded version: Renaissance and Renascences in Western Art, Stockholm, 1960.1946Abbot Suger on the Abbey of Saint-Denis and Its Art Treasures, Princeton, 19461951Gothic Architecture and Scholasticism, Latrobe, Pa., 1951“‘Nebulae in Pariete’’ Notes on Erasmus’ Eulogy on Dürer,” JWCI, 14, 1951, pp. 34-411952“Artist, Scientist, Genius: Notes on the ‘Renaissance-D?mmerung’,” The Renaissance, A Symposium, Metropolitan Museum of Art, 1952, pp.77ff. Reprinted as The Renaissance. Six Essays, New York, 1962, pp. 121-1821953Early Netherlandish Painting, Its Origins and Character, Cambridge, Mass., 19531953“The History of Art,” in W.R. Crawford, ed., Cultural Migration, Philadelphia, 1953, pp. 82-111. Reprinted as “Three Decades of Art History in the United States. Impressions of a Transplanted European,” in Meaning in the Visual Arts, New York, 1955, pp. 321-3461954Galileo as a Critic of the Arts, The Hague, 19541956with Dora Panofsky, Pandora’s Box. The Changing Aspects of a Mythical Symbol, New York, 19561958with Dora Panofsky, “The Iconography of the Galérie Fran?ois I at Fontainebleau,” Gazette des Beaux-Arts, 52, 1958, pp. 113-1901963“The Ideological Antecedents of the Rolls-Royce Radiator,” Proceedings of the American Philosophical Society, 107, 1963, pp. 273-288. Reprinted in Three Essays on Style, ed. Irving Lavin, Cambridge, Mass., 1995, pp. 127-1641964Raymond Klibansky, Erwin Panofsky and Fritz Saxl, Saturn and Melancholy. Studies in the History of Natural Philosophy Religion and Art, London, 1964 (N61 K684)1964“The Mouse that Michelangelo Failed to Carve,” Studies in the History of Art, Supplement I, Essays in Memory of Karl Lehmann, New York, 19641964Tomb Sculpture. Four Lectures on Its Changing Aspects from Ancient Egypt to Bernini, New York, 1964. Based on IFA lectures of 1956. Reprint with foreward by Martin Warnke, New York, 19921969Problems in Titian, Mostly Iconographic, New York, 1969“Erasmus and the Visual Arts,” JWCI, 32, 1969, pp. 200-271974Dr. Panofsky and Mr. Tarkington. An Exchange of Letters, ed. Richard Ludwig, Princeton, 1974Selected Literature on PanofskyWilliam Heckscher, “The Genesis of Iconology,” Stil und Uberlieferung in der Kunst des Abendlandes (Acts of the 21st International Congress, Bonn, 1964), Berlin, 1967Erik Forssman, “Ikonologie und allgemeine Kunstgeschichte,” Zeitschrift für Aesthetik und Allgemeine Kunstwissenschaft, 11, 2, 1967, pp. 132-169Roland Recht, “La méthode iconologique d’Erwin Panofsky,” Critique, 24, 1968, pp. 315-323William S. Heckscher, “Erwin Panofsky: A Curriculum Vitae,” Record of the Art Museum. Princeton University, 28, 1969, pp. 5-21. Reprinted in Three Essays on Style, ed. Irving Lavin, Cambridge, Mass., 1995, pp. 167-195H. Oberer and E. Verheyen, eds., Erwin Panofsky, Aufs?tze zu Grundfragen der Kunstwissenschaft. Berlin, 1974. Full Panofsky bibliography on pp. 1-17Christine Hasenmueller, “Panofsky, Iconography, and Semiotics,” Journal of Aesthetics and Art Criticism, XXXVI, Spring, 1978, pp. 289-301André Chastel and others, eds., Pour un temps / Erwin Panofsky, Paris, 1983Silvia Ferretti, Cassirer, Panofsky, and Warburg. Symbol, Art, and History, trans. Richard Pierce, New Haven and London, 1984 (Il demone della memoria. Simboli e tempo storico in Warburg, Cassirer, Panofsky, 1984)Michael Ann Holly, Panofsky and the Foundations of Art History, Ithaca, 1984Peter Kidson, “Panofsky, Suger and St Denis,” Journal of the Warburg and Courtauld Institutes, L, 1987, pp. 1-17Michael Ann Holly, Past Looking. Historical Imagination and the Rhetoric of Image, Ithaca, 1996Keith Moxey, The Practice of Theory, Ithaca and London, 1994C. Cieri Via, Nei dettagli nascosto. Per una storia del pensiero iconologico, Rome, 1994Carl Landauer, “Panofsky and the Renascence of the Renaissance,” Renaissance Quarterly, XLVII, 1994, pp. 255-281Bruno Reudenbach, ed., Erwin Panofsky. Beitr?ge des Symposium Hamburg 1992, Berlin, 1994Joel Snyder, review of EP, Perspective as Symbolic Form, in Art Bulletin, LXXVI, 1995, pp. 337-340Irving Lavin, ed., Meaning in the Visual Arts: Views from the Outside. A Centennial Commemoration of Erwin Panofsky (1892-1968), Princeton, 1995. Especially Anthony Grafton, “Panofsky, Alberti and the Ancient World,” pp. 123-30Ernst Gombrich, “Icon,” New York Review of Books, February 15, 1996, pp. 29-30 (review of Three Essays on Style and Perspective as Symbolic Form)Robert Gaston, “Erwin Panofsky and the Classical Tradition” (review of Irving Lavin, ed., Meaning in the Visual Arts: Views from the Outside. A Centennial Commemoration of Erwin Panofsky, Princeton, 1995), in International Journal of the Classical Tradition, 4, 1998, pp. 613-23Erwin Panofsky, Korrespondenz 1910 bis 1968: eine kommentierte Auswahl in fünf B?nden, 6 vols., ed. Dieter Wuttke, Wiesbaden, 2001-2011Matthias Waschek, Roland Recht, eds., Relire Panofsky: cycle de conférences organisé au musée du Louvre par le Service culturel du 19 novembre au 17 décembre 2001, Paris, 2008Brief Warburg BibliographyErwin Panofsky, “A. Warburg,” Repertorium für Kunstwissehschaft, LI, 1930, pp. 1-4Aby Warburg, Gesammelte Schriften. Die Erneuerung der heidnischen Antike. Kulturwissenschaftliche Beitr?ge zur Geschichte der Europ?ischen Renaissance, ed. Gertrud Bing, Leipzig, 1932. Kraus Reprint 1969Aby Warburg, La rinascita del paganesimo antico, ed. Gertrud Bing, Florence, 1966 (N6370 W19)The Warburg Institute, A Bibliography on the Survival of the Classics. Kulturwissenschaftliche Bibliographie zum Nachleben der Antike, vol. I, with the collaboration of Hans Meier, Richard Newald, Edgar Wind, London, 1934. Introduction by Edgar Wind, pp. iv-xii.Literature on WarburgMnemosyne. Beitr?ge von Klaus Berger, Ernst Cassirer, Kenneth Clark, Kurt Karl Eberlein, Erwin Panofsky, Percy Ernst Schramm, Fritz Schumacher und Max M. Warburg zum 50. Todestag von Aby Warburg, ed. Stephen Füssel, G?ttingen, 1979 (N8375 W199 M69)Kurt Forster, “Aby Warburg’s History of Art. Collective Memory and the Social Mediation of Images,” Daedalus, 105.1, 1976, pp. 109-76Kurt Forster, “Aby Warburg: His Study of Ritual and Art on Two Continents,” October, 77, 1966, pp. 5-24Aby Warburg. Akten des internationalen Symposium Hamburg 1990, ed. H. Bredekamp, M. Diers, C. Schoell-Glass, Weinheim, 1991Kurt Forster, “Die Hamburg-Amerika Linie, oder: Warburgs Kulturwissenschaft zwishcen den Kontinenten,” pp. 11-37Peter Burke, “Aby Warburg as Historical Anthropologist,” pp. 39-44Margaret Iversen, “Aby Warburg and the New Art History,” pp. 281-87Michael Deers, “Von der Ideologie- zur Ikonologiekritik. Die Warburg-Renaissancen,” in A. Berndt, P. Kaiser, A. Rosenberg, D. Trinkner, eds., Frankfurter Schule unde Kunstgeschichte, Berlin, 1992, pp. 19-40Dieter Wuttke and C.G. Heise, eds., Aby M. Warburg: Ausgesw?hlte Schriften und Würdigungen, 2nd ed., Baden-Baden, 1980Early Twentieth-century GermanyFritz Ringer, The Decline of the German Mandarins: The German Academic Community, 1890-1933, Cambridge, Mass., 1969(LA 727.R47)Peter Gay, Weimar Culture, ................
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