In Studies in Iconology, the themes and concepts of Renaissance art are analysed and related to both classical and medieval tendencies.

Since the late fourteenth century, European artists created an extensive body of images, in paintings, prints, drawings, sculptures, and other media, about the horrors of disease and death, as well as hope and salvation. This interdisciplinary study on disease in metaphysical context is the first general overview of plague art written from an art-historical standpoint. The book selects masterpieces created by Raphael, Titian, Tintoretto, Rubens, Van Dyck, and Poussin, and includes minor works dating from the fourteenth to twentieth centuries. It highlights the most important innovative artistic works that originated during the Renaissance and the Catholic Reformation. This study of the changing iconographic patterns and their iconological interpretations opens a window to the past.

This book addresses the status and relevance of iconography and iconology in the contemporary scholarly study of medieval art. There is a widespread tendency among art historians today to regard the study of iconography and iconology in the tradition of Erwin Panofsky as an outmoded and trivial pursuit. Nonetheless, Panofsky's three-level interpretative model sits firmly in the methodological toolkit of art history and remains a common point of reference among adherents and adversaries alike. Iconography and iconology demand to be taken seriously as a feature of continued praxis in the discipline. The book contains a collection of essays on the validity of various approaches toward the interpretation of meaning in medieval art today. These essays either demonstrate the continued usefulness of iconography and iconology as analytical strategies, or propose alternative approaches to the investigation of meaning in the art of the Middle Ages.

This volume assesses how current approaches to iconology and iconography break new ground in understanding the signification and reception of medieval images, both in their own time and in the modern world. Framed by critical essays that apply explicitly historiographical and sociopolitical perspectives to key moments in the evolution of the field, the volume’s case studies focus on how iconographic meaning is shaped by factors such as medieval modes of dialectical thought, the problem of representing time, the movement of the viewer in space, the fragmentation and injury of both image and subject, and the complex strategy of comparing distant cultural paradigms. The contributions are linked by a commitment to understanding how medieval images made meaning; to highlighting the heuristic value of new perspectives and methods in exploring the work of the image in both the Middle Ages and our own time; and to recognizing how subtle entanglements between scholarship and society can provoke mutual and unexpected transformations in both. Collectively, the essays demonstrate the expansiveness, flexibility, and dynamism of iconographic studies as a scholarly field that is still heartily engaged in the challenge of its own remaking. Along with the volume editors, the contributors include Madeline H. Caviness, Beatrice Kitzinger, Aden Kumler, Christopher R. Lakey, Glenn Peers, Jennifer Purtle, and Elizabeth Sears.

Available for the first time in English, An Introduction to Iconography explains the ways that artists use references and allusions to create meaning. The book presents the historical, theoretical, and practical aspects of iconography and ICONCLASS, the comprehensive iconographical indexing system developed by Henri van de Waal. It gives particular emphasis to the history of iconography, personification, allegory, and symbols, and the literary sources that inform iconographic readings, and includes annotated bibliographies of books and journal articles from around the world that are associated with iconographic research. The author of numerous articles and a four-volume reference work on Italian prints, Roelof van Straten is currently working on an iconographic index covering the prints of Goltzius and his school.

A Companion to Ancient Egyptian Art presents a comprehensive collection of original essays exploring key concepts, critical discourses, and theories that shape the discipline of ancient Egyptian art. • Winner of the 2016 PROSE Award for Single Volume Reference in the Humanities & Social Sciences • Features contributions from top scholars in their respective fields of expertise relating to ancient Egyptian art • Provides overviews of past and present scholarship and suggests new avenues to stimulate debate and allow for critical readings of individual art works • Explores themes and topics such as methodological approaches, transmission of Egyptian art and its connections with other cultures, ancient reception, technology and interpretation, • Provides a comprehensive synthesis on a discipline that has diversified to the extent that it now incorporates subjects ranging from gender theory to ‘X-ray fluorescence’ and ‘image-based interpretations systems’

When you have artistic objects or images from religion or art and wish to understand and analyse the meanings of the signs or symbols portrayed therein then iconology and iconography provide useful tools to make the process easier. This dataset focuses on systemising the process of iconology and iconography research by drawing on Edwin Panofsky's three levels of analysis. The data provided in this example are two famous paintings: 'The Mona Lisa' by Leonardo da Vinci and 'Guernica' by Pablo Picasso. A third image, 'The Birth of Venus' by Botticelli, is provided to practice on.

Almost thirty years ago, W.J.T. Mitchell's 'Iconology' helped launch the interdisciplinary study of visual media, now a central feature of the humanities. Mitchell's now-classic work introduced such ideas as the pictorial turn, the image/picture distinction, the metapicture, and the biopicture. These key concepts imply an approach to images as true objects of investigation-an 'image science.' Continuing with this influential line of thought, 'Image Science' gathers Mitchell's most recent essays on media aesthetics, visual culture, and artistic symbolism. The chapters delve into such topics as the physics and biology of images, digital photography and realism, architecture and new media, and the occupation of space in contemporary popular uprisings.

Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics

First published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.