Erwin Panofsky’s Meaning in the Visual Arts is considered a key work in art history. Its ideas have provoked widespread debate, and although it was first published more than sixty years ago, it continues to feature regularly on numerous university reading lists. Meaning in the Visual Arts comprises nine essays. In these, Panofsky argues for the independence of iconology as a branch of history. He moves on to demonstrate the anatomy of art and its study, as well as the controlling principles of interpretation. He then deals with the theories of human proportions, Gothic architecture, and the Northern Renaissance. Finally, Panofsky discusses his own American experiences.

This book is a comprehensive study of one of the most insightful and fertile but also most neglected philosophers of the twentieth century, Susanne Langer. Failure to recognise Langer's seminal philosophical sources has led to frequent misinterpretations and misunderstandings of her unique philosophical thought. Beginning with an overview of Langer's life and education, this study provides a much-needed explanation of how Langer's thinking was shaped by four seminal sources: her mentors Henry Sheffer and Alfred North Whitehead and the European philosophers Ernst Cassirer and Ludwig Wittgenstein. Langer's ability to unite seemingly disparate fields such logic, art, and embodied cognition around the notion of symbolic form, places aesthetics not at the margins of philosophy but at its very centre. By locating Langer's work in the broader context of major developments in twentieth-century European and American philosophy, Dengerink Chaplin shows how she was often ahead of her time. Shedding new light on Langer as an American philosopher whose innovative thought crosses the customary boundaries between analytic and continental philosophy, this book confirms why she continues to have relevance today.

A critical study for those interested in the intersection of art and biblical interpretation With a special focus on biblical texts and images, this book nurtures new developments in biblical studies and art history during the last two or three decades. Analysis and interpretation of specific works of art introduce guidelines for students and teachers who are interested in the relation of verbal presentation to visual production. The essays provide models for research in the humanities that move beyond traditional disciplinary boundaries erected in previous centuries. In particular, the volume merges recent developments in rhetorical interpretation and cognitive studies with art historical visual exegesis. Readers will master the tools necessary for integrating multiple approaches both to biblical and artistic interpretation. Features Resources for understanding the relation of texts to artistic paintings and images Tools for integrating multiple approaches both to biblical and artistic interpretation Sixty images and fifteen illustrations

Anthropologists of the senses have long argued that cultures differ in their sensory registers. This groundbreaking volume applies this idea to material culture and the social practices that endow objects with meanings in both colonial and postcolonial relationships. It challenges the privileged position of the sense of vision in the analysis of material culture. Contributors argue that vision can only be understood in relation to the other senses. In this they present another challenge to the assumed western five-sense model, and show how our understanding of material culture in both historical and contemporary contexts might be reconfigured if we consider the role of smell, taste, touch and sound, as well as sight, in making meanings about objects.

Established in 1917, the Index of Christian Art, located at Princeton University, is now the largest archive of medieval art in existence and the most specialized resource for the iconographer. Throughout its eighty-five years, it has justly been recognized as one of the most learned institutions for the study of the art and culture of the medieval world. The essays in this book, all by staff or scholars of the archive, highlight some of the current research in the archive and the scholarship for which it has been widely renowned. The studies cover art from the Late Antique period to the end of the fifteenth century and include most of the media represented in the archive, from manuscripts to sculpture to glass. From reinterpreting previous scholarship to making new insights into the medieval mind, they explore such themes as Jephtha's Daughter; Mary Magdalene; Saints Blaise, Paul, Joseph, and Elisabeth of Hungary; and topics including women in the Bibles moralis es, Late German sermons, the iconographic program at Bourges Cathedral, Franciscan devotional art, and a late medieval Islamic manuscript. This volume presents some of the most exciting and interdisciplinary approaches to the study of these subjects, from the home of medieval iconography in Princeton. The contributors are Adelaide Bennett, Lois Drewer, Ivan Great, Judith Golden, Gerald Guest, Margaret Jennings, Margaret Lindsey, Mika Natif, Lynn Ransom, Pamela Sheingorn, and A. E. Wright.

The theme for the Cambridge Annual Student Archaeology Conference (CASA) 2019 was New Frontiers in Archaeology and this volume presents papers from a wide range of topics such as new geographical areas of research, using museum collections and legacy data, new ways to teach archaeology and new scientific or theoretic paradigms.

The concept of cultural history has in the last few decades come to the fore of historical research into early modern Europe. Due in no small part to the pioneering work of Peter Burke, the tools of the cultural historian are now routinely brought to bear on every aspect of history, and have transformed our understanding of the past. First published in 1978 and now in its third edition, this study examines the broad sweep of pre-industrial Europe's popular culture. This new edition features a new introduction reflecting the growth of cultural history and an extensive supplementary bibliography which further adds to the information about new research in the area.

In Jesuit Art, Mia Mochizuki considers the artistic production of the pre-suppression Society of Jesus (1540–1773) from a global perspective. Geographic and medial expansion of the standard corpus changes not only the objects under analysis, it also affects the kinds of queries that arise. Mochizuki draws upon masterpieces and material culture from around the world to assess the signature structural innovations pioneered by Jesuits in the history of the image. When the question of a ‘Jesuit style’ is rehabilitated as an inquiry into sources for a spectrum of works, the Society’s investment in the functional potential of illustrated books reveals the traits that would come to define the modern image as internally networked, technologically defined, and innately subjective.

A member of the art history generation from the golden age of the 1920s and 1930s, Millard Meiss (1904–1975) developed a new and multi-faceted methodological approach. This book lays the foundation for a reassessment of this key figure in post-war American and international art history. The book analyses his work alongside that of contemporary art historians, considering both those who influenced him and those who were receptive to his research. Jennifer Cooke uses extensive archival material to give Meiss the critical consideration that his extensive and important art historical, restoration and conservation work deserves. This book will be of interest to scholars in art history, historiography and heritage management and conservation.

A collection of essays that reflect the breadth of twentieth-century scholarship in art history. Kleinbauer has sought to illustrate the variety of methods scholars have developed for conveying the unfolding of the arts in the Western world. Originally published by Holt, Rinehart, and Winston, 1971.