TY  - BOOK
AU  - Bałus,Wojciech
AU  - Bałus,Wojciech
AU  - Kunińska,Magdalena
TI  - Art Historiography and Iconologies Between West and East
T2  - Studies in Art Historiography
SN  - 9780367684341
PY  - 2024///
PB  - Taylor & Francis, Routledge [Imprint]
KW  - History of art
KW  - thema
KW  - The Arts: treatments and subjects
KW  - The Arts
KW  - architecture
KW  - art historian
KW  - art history
KW  - center
KW  - Central Europe
KW  - centre
KW  - communism
KW  - Czechoslovakia
KW  - Eastern Europe
KW  - Ernst H. Kantorowicz
KW  - Erwin Panofsky
KW  - Estonia
KW  - Europe
KW  - Friedrich Mobius
KW  - German Democratic Republic
KW  - Germany
KW  - Godefridus Johannes Hoogewerff
KW  - Hans Sedlmayr
KW  - Helga Sciurie
KW  - iconology
KW  - intellectual history
KW  - Jan Białostocki
KW  - Jena
KW  - Lech Kalinowski
KW  - Marxism
KW  - methodology
KW  - Mikhail Liebmann
KW  - Mikhail Sokolov
KW  - oppression
KW  - periphery
KW  - Poland
KW  - politics
KW  - Prague
KW  - Romania
KW  - social realism
KW  - Soviet bloc
KW  - Soviet Union
KW  - Warburg Institute
KW  - Western Europe
KW  - Zofia Ameisenowa
N1  - Free-to-read
N2  - This volume explores a basic question in the historiography of art: the extent to which iconology was a homogenous research method in its own immutable right. By contributing to the rejection of the universalizing narrative, these case studies argue that there were many strands of iconology. Methods that differed from the 'canonised' approach of Panofsky were proposed by Godefridus Johannes Hoogewerff and Hans Sedlmayr. Researchers affiliated with the Warburg Institute in London also chose to distance themselves from Panofsky's work. Poland, in turn, was the breeding ground for yet another distinct variety of iconology. In Communist Czechoslovakia there were attempts to develop a 'Marxist iconology'. This book, written by recognized experts in the field, examines these and other major strands of iconology, telling the tale of iconology's reception in the countries formerly behind the Iron Curtain. Attitudes there ranged from enthusiastic acceptance in Poland, to critical reception in the Soviet Union, to reinterpretation in Czechoslovakia and the German Democratic Republic, and, finally, to outright rejection in Romania. The book will be of interest to scholars working in art history, visual studies, and historiography
UR  - https://library.oapen.org/handle/20.500.12657/88243
ER  -