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“... it as a friendly greeting. That’s what it means to read visual signs ‘iconographically’, Erwin Panofsky writes in his classic essay ‘Iconography and Iconology: An Introduction to the Study of Renaissance Art’, from 1939 (when men still wore hats and some were friendly). The tipping of the hat, he speculates, began as a chivalric gesture, the ...”

“... of Renaissance imagery, like that of a much greater scholar with whom he is commonly associated, Erwin Panofsky, depended on the fascination and universal applicability of his method. The present volume, mostly devoted to his relatively early publications, is of interest principally because it illuminates the origins of his approach. In fact the ...”

“... subject, healing the schism between the Two Cultures, was first attempted by the art historian Erwin Panofsky in his seminal 1954 article ‘Galileo as a Critic of the Arts’, where he argued that Galileo’s dislike of Mannerist art and architecture, with its fundamental unit of the ellipse rather than the circle or square, prevented him from ...”

“... makes me uneasy. Iconography is a notoriously controversial art. The confidence of the age of Erwin Panofsky and Edgar Wind has given way to doubt and conflict. In no area is this latterday dispute between iconoclasts and iconodules so vigorous or so sharp as in the field of 17th-century Dutch art, long taken to be a paradigm case of descriptive ...”

“... language’. Unless I have missed a smile, Thurley frowns on every other eminence except, locally, Erwin Panofsky for his Meaning in the Visual Arts. Common sense is fine, and empiricism pretty good, but Thurley’s version of each won’t persuade anyone who isn’t persuaded already. Leavis was, not at all incidentally, a persuasive writer: sentence by ...”

“... to probe the realistic surface of Dutch painting for symbolic meanings. Inspired by the work of Erwin Panofsky, they adopted an iconological method originally designed to interpret works of the Italian Renaissance in order to demonstrate that 17th-century Dutch art, too, had its allegories and emblems. There was realism and ‘seeming ...”

“... Its director at the time, Fritz Saxl, lost his professorship at the University of Hamburg, as did Erwin Panofsky and Ernst Cassirer, both of whom were closely associated with the institute. Various proposals for moving the library abroad failed because the destinations suggested – Jerusalem, Rome and Leiden – would only accept it as a gift, and this ...”

“... to return the compliment, it should nonetheless be remembered that exemplars of iconography like Erwin Panofsky have been at pains to stress the interdependence of connoisseurship and art history. The former, wrote Panofsky in Meaning and the Visual Arts, was only a more laconic form of the latter, just as art history ...”

“... of Hamburg in 1919 saw the appointment of Ernst Cassirer, philosopher of symbols, and of Erwin Panofsky as a lecturer in art history the following year. The intellectual temper was turning away from the specialism that had defined German scientific culture in favour of new forms of ‘synthesis’. This postwar emphasis on conceptual wholeness ...”

“... émigrés at the Institute for Advanced Study – Thomas Mann, Hermann Broch, Erich Kahler, Erwin Panofsky, the mathematicians Hermann Weyl and John von Neumann, the physicists Albert Einstein and Wolfgang Pauli – and there were frequent visits from distinguished speakers such as Eliot. Berryman, in spite of himself, was thoroughly charmed by ...”