Visual codes in art from the historical point of view - PowerPoint Presentation

Slide1

Visual codes in art from the historical point of view.

Assist. Prof. Mehmet KahyaoğluYaşar UniversitySlide2

The Venus of

Willendorf

28,000

-25,000 BCLimestone, painted in red 11.1 cmNaturhistorisches Museum, ViennaSlide3

Perforated relief of King Ur-

NansheUr,

3

rd Dynasty (2600-2330 BC) Limestone, 39 x 46 cmLouvre Museum, ParisSlide4

Victory Stele of

Naram-Sin

2,254

-2,218 BCLimestoneh. 2 mt. Louvre Museum, ParisSlide5

Law Code of Hammurabi, king of

Babylon

(detail)

ca. 1,780 BCBazalth. 2.25 mt.Louvre Museum, ParisSlide6

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.Slide7

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.Slide8

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.Slide9

Images are made to communicate.Slide10

Leonardo da Vinci

. Last

Supper

. 1495–1498. Tempera on gesso, pitch and mastic. 460 cm × 880 cm. Santa Maria delle Grazie, Milan.Slide11

What does an Aborigine think of that painting?Slide12

Hieronymus Bosch

. The Garden of Earthly Delights.1480-1490 or 1503-1504. Oil-on-wood triptych. 220 cm × 389 cm Museo

del Prado, MadridSlide13

Robert

Capa

(1913-1954).

Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936Slide14

Timothy O'Sullivan,

Harvest of Death (4th July, 1863)Slide15

Margeret

Bourke-White (1904-1971), Gandi. 1946Slide16

Bryan Organ

Diana, Princess of Wales1981Acrylic on canvas177.8 x 127 cm.

National Portrait Gallery, LondonSlide17

Sir

Joshua Reynolds. George Augustus Eliott

,

Lord Heathfield. 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London, UK.Slide18

Hyacinthe

Rigaud.

Louis XIV

. 1701Oil on canvas. Musée du Louvre, ParisJ-S. Duplessis.

Louis XVI. c. 1770Oil on canvas. Musée

Carbavalet, ParisSlide19

Fyodor

Shurpin. The Morning of Our Native Land. 1948. Oil on canvas

.

State Gallery of Tretyakov, Moscow.Slide20

Hunting

scene

from the tomb of Nebamun. c. 1350British Museum, LondonArt gives clues …Slide21

Robert

Capa

(1913-1954).

Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936But it may not be real as it may seen…Slide22

Eugène

Delacroix

Paganini

1831,

Karton

üzerine

yağlıboya

Jean-

Auguste

-Dominique Ingres

Paganini

1819,

KarakalemSlide23

Jean-

Auguste

-Dominique Ingres

Turkish Bath

1862,

Tuval

üzerine

yağlıboya

,

Museé

du Louvre, ParisSlide24

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

.

htmSlide25

OBJECT OF INTERPRETATION

ACT OF INTERPRETATION

EQUIPMENT FOR INTERPRETATION

CORRECTIVE PRINCIPLE OF INTERPRETATION

(Hist. of Tradition)

I

Primary

or

natural

subject matter

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

).Slide26

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

).Slide27

OBJECT OF INTERPRETATION

ACT OF INTERPRETATION

EQUIPMENT FOR INTERPRETATION

CORRECTIVE PRINCIPLE OF INTERPRETATION

(Hist. of Tradition)

I

Primary

or

natural

subject matter

–

factual

,

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 themesSlide28

Caravaggio,

The Crucifixion of St. Peter,1601

Oil on canvas

Santa Maria del Popolo, RomeSlide29
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