| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. |
Naše suvremeno razumijevanje simboličkih elemenata umjetnosti proizlazi iz djelovanja grupe učenjaka koja se okupila u Hamburgu 1920-ih godina. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. |
Najistaknutiji među njima bili su Erwin Panofsky, Aby Warburg te Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
Zajedno su razvili većinu rječnika kojeg povjesničari umjetnosti koriste i danas u 21. stoljeću. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. |
''Ikonografija'' u osnovi znači ''simboli za pisanje'', a odnosi se na tematiku umjetničkog djela koja potječe od pisanih izvora - posebice Biblije i mitologije. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. |
''Ikonologija'' je širi termin koji se odnosi na simbolizam općenito, neovisno o tome potječe li od specifičnog teksta ili ne. |
| Today art historians sometimes use these terms interchangeably. |
Danas povjesničari umjetnosti ponekad međusobno zamjenjuju te pojmove. |
| Panofsky, in his early work, also developed the theories of Riegl, but became eventually more preoccupied with iconography, and in particular with the transmission of themes related to classical antiquity in the Middle Ages and Renaissance. |
U svojim ranim djelima, Panofsky je također razvio Rieglove teorije, ali se na kraju ipak posvetio ikonografiji, posebice pojavi tema klasične antike u razdoblju srednjeg vijeka i renesanse. |
| In this respect his interests coincided with those of Warburg, the son of a wealthy family who had assembled an impressive library in Hamburg devoted to the study of the classical tradition in later art and culture. |
U tom je smislu Panofsky dijelio interes s Warburgom, sinom bogate obitelji koji je u Hamburgu sakupio impresivnu zbirku knjiga posvećenu proučavanju klasične tradicije u kasnijoj umjetnosti i kulturi. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. |
Pod Saxlovim pokroviteljstvom, njegova se zbirka razvila u istraživački institut pripojen Sveučilištu u Hamburgu gdje je Panofsky predavao. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
Warburg je preminuo 1929. godine, a Saxl i Panofksy, oboje Židovi, 1930-ih su godina bili prisiljeni napustiti Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. |
Saxl se skrasio u Londonu gdje je, prenijevši Warburgovu zbirku knjiga, osnovao Warburgov Institut. |
| Panofsky settled in Princeton at the Institute for Advanced Study. |
Panofsky je pak otišao u Princeton gdje je radio na Institute for Advanced Study. |
| In this respect they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
U tom su smislu Saxl i Panofsky bili dio nevjerojatnog priljeva njemačkih povjesničara umjetnosti na engleske akademije 1930-ih godina. |
| These scholars were largely responsible for establishing art history as a legitimate field of study in the English-speaking world, and the influence of Panofsky's methodology, in particular, determined the course of American art history for a generation. |
Ti su učenjaci velikim dijelom bili odgovorni za prihvaćanje povijesti umjetnosti kao legitimne znanosti na području engleskog govornog područja, dok je utjecaj Panofskyjeve metodologije zacrtao put sljedećoj generaciji američkih povjesničara umjetnosti. |
