By Roelof van Straten, Patricia de Man (trans)
For the 1st time in English, to be had in a single resource, "An creation to Iconography" explains the methods artists use references and allusions to create which means. The e-book provides the old, theoretical, and functional features of iconography and ICONCLASS, the great iconographical indexing procedure built by way of Henri van de Waal. subject matters akin to the historical past of iconography, personification, allegory, and logos obtain particular emphasis. further good points comprise annotated bibliographies of books and magazine articles from worldwide which are linked to iconographic study. This entire consultant, with its greater than 60 illustrations, deals a readable and prepared resource for the topic.
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Additional resources for An Introduction to Iconography
Why, at infinity! And who has his seat at the infinitely distant? Of course: HE, God! Looking towards the vanishing point, you look towards infinity: you look towards God. Fig. 8. Perugino, The Marriage of the Virgin, Musée des Beaux-Arts. Musée des Beaux-Arts de Caen, Martine Seyve photographe. Reproduced by permission 5 Friedrich Freiherr Hiller von Gaertringen, “Raphaels Lernerfahrungen in der Werkstatt Peruginos,” Kunstwiss. Studien Bd. 76 (Deutscher Kunstverlag, 1999), pp. 56–66. David Speiser, Crossroads: History of Science, History of Art 39 It is worthwhile to pause here.
I am often surprised to see how much mathematicians and their historians underrate the stimulation their science received from other branches. Likewise, historical accounts of physics often overlook the fact that, after Dalton, the real champions of atomism were the chemists: think of Kékulé and those who created stereometric organic chemistry, at a time when only a minority of physicists believed in atoms; some physicists even opposed atomism violently as late as the beginning of the last century.
One example are the pyramids built during the old Egyptian empire. They testify to the powerful technology of their builders, but also to a geometric ideal shared by the sculptors of the same period. This must be seen together with how the statues express a new appreciation of three-dimensional space and of plasticity as an aesthetic value in itself. We may even see the spherical wigs that the ladies of that time wore as a compliment to that artistic ideal. 2 He pointed out that all tetragonal space groups had been found by the Egyptians, including one denoted C(4v)II, which is a highly nontrivial one, a fact that testifies to a systematic occupation with these geometric questions.
An Introduction to Iconography by Roelof van Straten, Patricia de Man (trans)