Gestaltungsprincipien Michelangelos, besonders in ihrem Verhältnis zu denen Raffaels. English
Notes:
Includes bibliographical references (pages 273-287) and index.
Contents:
Part 1: Premises-Material Histories: Raphael and the Works of Michelangelo -- Michelangelo and the Works of Other Masters -- Part 2: Inferences-Stylistic Analyses: Section 1. The Representation of the Individual Figure in Art: The Design of the Body in Classic Art, Especially Raphael (The Principle of Centred Unfolding) -- The Design of the Body in Michelangelo (The Principles of Centred Unfolding and Cubic Constraint in Conflict) -- The Organization of Form in the Plane Countercheck: The 'Single-Viewpoint Character' of Michelangelo's Sculpture -- The Conception of Man as Regards the Constitution of his Psyche -- Bibliography (reconstructed by Gerda Panofsky) -- Appendix 1: Other Arrangements of the Material -- Appendix 2: Notes on the Draft Designs for the Façade of San Lorenzo, Florence -- List of Non-German Expressions (compiled by the translator).
Summary:
"In 2012, a manuscript by renowned art historian Erwin Panofsky was rediscovered in a safe in Munich, in the basement of the Central Institute for Art History. Hidden for decades among folders and administrative files was Panofsky's thesis on Michelangelo-originally submitted to Hamburg University in March of 1920, abandoned when Panofsky fled Hitler's Germany in 1934, and thought to have been destroyed in the Allied bombings. A century on, Michelangelo's Design Principles makes this remarkable work available for the first time in English. Casting Panofsky's thought in an entirely new light, Michelangelo's Design Principles is the legendary scholar's only book-length examination of the art of the Italian Renaissance. He provides a compelling analysis of Michelangelo's artistic style and deftly compares it with that of Raphael, situating both Renaissance masters in the broader context of Western art. This illuminating book offers unique perspectives on Panofsky's early intellectual development and the state of research on Michelangelo and the High Renaissance at a period of transition in art history, when formalist readings of artworks began to take precedence over a biographical approach. Featuring an introduction by Gerda Panofsky that discusses the history of the manuscript and the significance of its rediscovery, Michelangelo's Design Principles is a crucial link between Panofsky's formalist training as a young art historian and his later work in iconology"--Dust jacket flap.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.