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Erwin "Pan" Panofsky (March 30, 1892 in Hannover – March 14, 1968 in Princeton, New Jersey)〔(https://dictionaryofarthistorians.org/panofskye.htm )〕 was a German art historian, whose academic career was pursued mostly in the U.S. after the rise of the Nazi regime. Panofsky's work represents a high point in the modern academic study of iconography, which he used in hugely influential〔Shone, Richard and Stonard, John-Paul, eds. ''The Books that Shaped Art History'', chapter 7. London: Thames & Hudson, 2013.〕 works like his "little book" ''Renaissance and Renascences in Western Art'' and his masterpiece,〔 ''Early Netherlandish Painting''. Many of his works are still in print, including ''Studies in Iconology: Humanist Themes in the Art of the Renaissance'' (1939), and his eponymous 1943 study of Albrecht Dürer. Panofsky's ideas were also highly influential in intellectual history in general,〔Chartier, Roger. ''Cultural History'', pp. 23-24 (from "Intellectual History and the History of ''Mentalités''"). Ithaca: Cornell University Press, 1988〕 particularly in his use of historical ideas to interpret artworks and vice-versa. ==Biography== Panofsky was born in Hannover to a wealthy Jewish Silesian mining family. He grew up in Berlin, receiving his Abitur in 1910 at the Joachimsthalsche Gymnasium. In 1910-1914 he studied philosophy, philology, and art history in Jura, Berlin, where he heard lectures by the art historian Margarete Bieber, who was filling in for Georg Loeschcke; also in Munich. While 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, who he wrote his dissertation under 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. 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. 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). By 1934 Panofsky 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. Panofsky was a member of the American Academy of Arts and Sciences, 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''. Panofsky 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 ''Melancolia I'', the former based on Erasmus's ''Handbook of a Christian Knight''. Panofsky was known to be friends with physicists Wolfgang Pauli and Albert Einstein. His son, Wolfgang K. H. Panofsky, became a renowned physicist who specialized in particle accelerators. His other son was a meteorologist. 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. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Erwin Panofsky」の詳細全文を読む スポンサード リンク
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