About Me
- Italy
- Joined about 1 year ago
- academic
- Euro (EUR - €)
Native language:
English
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$25 to $60/ hour*
I'm a perfectionist, either I do the job well, or I don't do it.
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350
Translation Units
0
Term Concepts
Top Fields of Expertise
art
art history
My Work
Sample Translation Art
Art History Sample Translation
| Source (English) | Target (English) |
|---|---|
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
| Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. | Our understanding of the symbolic content of art in the 21st century originates from a group of scholars gathered in Hamburg in the 20s. |
| The most prominent among them were Erwin Panofsky, Aby Warburg, and Fritz Saxl. | Among them, the most significant figures were Erwin Panofsky, Aby Warburg and Fritz Saxl. |
| Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. | Together, they developed much of the vocabulary that continues to be used in the 21st century by art historians. |
| "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. | "Iconography," with roots meaning "symbols of writing," refers to artistic subjects derived from written sources, particularly literature and mythology. |
| "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. | "Iconology" is a broader term that encompasses all symbolism, whether derived from a specific text or not. |
| Today art historians sometimes use these terms interchangeably. | Today, art historians sometimes use these terms interchangeably. |
| 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. | Panofsky, in his early works, also developed theories of Riegl, but over time, he became more concerned with iconography, especially the transmission of themes related to classical antiquity in the Middle Ages and the Renaissance. |
| 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. | In this aspect, his interests coincided with those of Warburg, born into an affluent family that had assembled an impressive library dedicated to the study of the classical tradition in art and subsequent culture in Hamburg. |
| Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught. | Under the auspices of Saxl, this library was transformed into a research institute affiliated with the University of Hamburg, where Panofsky taught. |
| Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. | Warburg died in 1929, and in the 1930s, Saxl and Panofsky, both Jewish, were forced to leave Hamburg. |
| Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. | Saxl settled in London, bringing Warburg's library with him and founding the Warburg Institute. |
| Panofsky settled in Princeton at the Institute for Advanced Study. | Panofsky settled in Princeton at the 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. | In this sense, they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. |
| 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. | 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, shaped the course of American art history for a generation. |
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Recent Activity
Translated 350 translation units
in the fields of art history and art
Dec 28, 2023
