Erwin Panofsky

Erwin Panofsky , 1892-1968, American art historian, b. Germany, Ph.D. Univ. of Freiburg, 1914. After teaching (1921-33) at the Univ. of Hamburg and serving as professor of fine arts at New York Univ., he joined (1935) the faculty at the Institute for Advanced Study, Princeton, N.J. His writings are among the most important of the 20th cent. in art history. Panofsky contributed studies, particularly in the realm of iconography, of the medieval, Renaissance, mannerist, and baroque periods. He is admired for his immense erudition, his discoveries, and his profound observations, laced with touches of humor. Among his principal works in English are Studies in Iconology (1939, 2d ed. 1962), Albrecht Dürer (1943, 4th ed. 1955), Early Netherlandish Painting (1953), and Renaissance and Renascenses in Western Art (2d ed. 1965). Other writings include The Codex Huygens and Leonardo da Vinci's Art Theory (1940), Abbot Suger on the Abbey Church of St.-Denis and Its Art Treasures (1946), Gothic Architecture and Scholasticism (1951), Galileo as a Critic of the Arts (1954), Meaning in the Visual Arts (1955), Correggio's Camera di San Paolo (1961), Tomb Sculpture (1964), Idea: A Concept in Art Theory (1924, tr. 1968), and Problems in Titian, Mostly Iconographic (1969).

Panofsky, Erwin (1892–1968). German-American art historian, a professor at Hamburg University 1926–33, until dismissed by the Nazis. In 1934 he settled in the USA, where he had been a visiting professor at New York since 1931, and was then visiting professor at Princeton University, 1934–5, and from 1935 professor at the Institute for Advanced Study, Princeton. Kenneth Clark described him as ‘unquestionably the greatest art historian of his time’, and he is renowned particularly for his immensely learned contributions to the study of iconography. His books include Studies in Iconology (1939), Albrecht Dürer (1943), Early Netherlandish Painting (1953), and Tomb Sculpture (1964). Panofsky enjoyed teaching and was influential through his work in the classroom and lecture hall as well as through his writings. Many scholars have tried to emulate his way of analysing works of art as part of a broad philosophical, intellectual, and cultural pattern, but few have rivalled his learning or finesse, and some of his followers have been accused of ‘over-interpreting’ pictures in their desire to uncover ‘hidden symbolism’.