1 / 32

Visual codes in art from the historical point of view .

Visual codes in art from the historical point of view . Assist. Prof. Mehmet Kahyaoğlu Yaşar University. The Venus of Willendorf 28,000 -25,000 BC Limestone, painted in red 11.1 cm Naturhistorisches Museum, Vienna. Perforated relief of King Ur- Nanshe

kennan
Download Presentation

Visual codes in art from the historical point of view .

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Visual codes in art from the historical point of view. Assist. Prof. Mehmet Kahyaoğlu Yaşar University

  2. The Venus of Willendorf28,000-25,000 BC Limestone, painted in red 11.1 cm Naturhistorisches Museum, Vienna

  3. Perforated relief of King Ur-Nanshe Ur, 3rd Dynasty (2600-2330 BC) Limestone, 39 x 46 cm Louvre Museum, Paris

  4. Victory Stele of Naram-Sin 2,254-2,218 BC Limestone h. 2 mt. Louvre Museum, Paris

  5. Law Code of Hammurabi, king of Babylon (detail) ca. 1,780 BC Bazalt h. 2.25 mt. Louvre Museum, Paris

  6. Panofsky vs. MannheimSociology of culture that Mannheim was to develop during the same period as Panofsky codified the methodology of iconography and iconology. Both Panofsky and Mannheim start from, but seek to go beyond, Riegl’s concept of Kunstwollenin developing a theoretically coherent account of the relationship between cultural objects and their larger contexts.

  7. The incipient sociological elements in Mannheim’s ‘Interpretation of Weltanschaung’ afforded Panofsky a more practical interpretative schema than that developed in his earlier account of the concept of Kunstwollen, but the social elements theoretically essential toMannheim’s conceptualization remain a residual category in Panofsky’s interpretive framework. Mannheim was able to characterize ‘worldview’ in more systematically historical and sociological terms, largely by building on precisely the psychological and collective dimensions of the concept of Kunstwollen that Panofsky had rejected.

  8. In his essay on ‘The concept of artistic volition’, Panofsky sought to establish an ‘Archimedean point’ for the interpretation of individual works of art in intrinsic terms, rather than by reference to such extrinsic phenomena as developmental stylistic or typological series.

  9. Images are made to communicate.

  10. Leonardo da Vinci. LastSupper. 1495–1498. Tempera on gesso, pitch and mastic. 460 cm × 880 cm. Santa Maria delle Grazie, Milan.

  11. What does an Aborigine think of that painting?

  12. Hieronymus Bosch. The Garden of Earthly Delights. 1480-1490 or 1503-1504. Oil-on-wood triptych. 220 cm × 389 cm Museo del Prado, Madrid

  13. Robert Capa (1913-1954). Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936

  14. Timothy O'Sullivan, Harvest of Death (4th July, 1863)

  15. MargeretBourke-White (1904-1971), Gandi. 1946

  16. Bryan Organ Diana, Princess of Wales 1981Acrylic on canvas177.8 x 127 cm.National Portrait Gallery, London

  17. SirJoshuaReynolds. George AugustusEliott, LordHeathfield. 1787. Oil on canvas. 142 x 113.5 cm. NationalGallery, London, UK.

  18. J-S. Duplessis. Louis XVI. c. 1770 Oil on canvas. MuséeCarbavalet, Paris HyacintheRigaud. Louis XIV. 1701 Oil on canvas. MuséeduLouvre, Paris

  19. FyodorShurpin. The Morning of Our Native Land. 1948. Oil on canvas. StateGallery of Tretyakov, Moscow.

  20. Art givesclues … Huntingscenefromthetomb of Nebamun. c. 1350 BritishMuseum, London

  21. But it may not be real as it mayseen… Robert Capa (1913-1954). Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936

  22. Eugène Delacroix Paganini 1831, Kartonüzerineyağlıboya Jean-Auguste-Dominique Ingres Paganini 1819, Karakalem

  23. Jean-Auguste-Dominique Ingres Turkish Bath 1862, Tuvalüzerineyağlıboya, Museédu Louvre, Paris

  24. http://w3.gril.univ-tlse2.fr/Proimago/LogiCoursimage/panofsky.htmhttp://w3.gril.univ-tlse2.fr/Proimago/LogiCoursimage/panofsky.htm

  25. Caravaggio, The Crucifixion of St. Peter, 1601 Oil on canvas Santa Maria del Popolo, Rome

More Related