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Erwin Panofsky defines iconography as "a known principle in the known world", while iconology is "an iconography turned interpretive". [7] According to his view, iconology tries to reveal the underlying principles that form the basic attitude of a nation, a period, a class, a religious or philosophical perspective, which is modulated by one personality and condensed into one work. [8]
Holbein's The Ambassadors (1533) is a complex work whose iconography remains the subject of debate.. Iconography, as a branch of art history, studies the identification, description and interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style.
A red telephone box is a British cultural icon. [3]According to the Canadian Journal of Communication, academic literature has described all of the following as "cultural icons": Shakespeare, Oprah, Batman, Anne of Green Gables, the Cowboy, the 1960s female pop singer, the horse, Las Vegas, the library, the Barbie doll, DNA, and the New York Yankees."
From 1964, Théo Tobiasse developed a more personal iconography drawn from his own memories of his childhood in Lithuania, the wanderings of a family looking for a land of asylum and the Shoah. The train, the one that takes his family from Kaunas to Paris, or the Jews to the camps, becomes a recurring motif, and memory a major theme in his work.
This Category is for articles concerned with Iconography, the subjects and content of the visual arts, not specifically with religious icons This category is often contrasted with Style . Wikimedia Commons has media related to Iconography .
Iconography varies between public images and private images supplied on a smaller scale and meant for personal devotion in the chamber: the Virgin suckling the Child (such as the Madonna Litta) is an image largely confined to private devotional icons.
Over time, Russian iconography evolved, incorporating local styles and elements that expanded its visual and symbolic vocabulary. [ 2 ] The personal, innovative and creative traditions of Western European religious art were largely lacking in Russia before the 17th century, when Russian icon painting became strongly influenced by religious ...
A personal and professional friendship linked him to Fritz Saxl in collaboration with whom he produced a large part of his work. He gave a short and precise description of his method in his article "Iconography and Iconology", published in 1939.