By Roelof van Straten, Patricia de Man (trans)
For the 1st time in English, to be had in a single resource, "An creation to Iconography" explains the methods artists use references and allusions to create which means. The e-book offers the historic, theoretical, and useful features of iconography and ICONCLASS, the great iconographical indexing approach built by means of Henri van de Waal. subject matters equivalent to the background of iconography, personification, allegory, and logos obtain particular emphasis. extra gains comprise annotated bibliographies of books and magazine articles from around the globe which are linked to iconographic learn. This accomplished advisor, with its greater than 60 illustrations, bargains a readable and prepared resource for the topic.
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Additional resources for An Introduction to Iconography
Becher, ‘William Whewell’s Odyssey: from Mathematics to Moral Philosophy’, in William Whewell: a Composite Portrait, ed. Menachem Fisch and Simon Schaffer (Oxford, 1991), p. 4, and Carla Yanni, ‘On Nature and The Romanesque Revival in Britain: 1 43 oped on continental journeys in France (1819) and Switzerland (1822). In 1823 he went on a tour with the romantic medievalist Kenelm Digby, who had recently published his book The Broadstone of Honour and would soon convert to Catholicism. 20 In 1820, Christopher, William Wordsworth’s younger brother, was elected Master of Trinity, and in 1821 Whewell dined with the poet himself in the Lake District.
It was the fruit of a German tour of 1829 during which Whewell found the richness of southern German architecture almost overwhelming. 26 From our point of view, however, the most important thing was his response to ‘large and splendid buildings before the change took place, going back up to very early times . ’27 and he wrote to Whittaker about them. But what can we call this architectural group? 28 But ‘Byzantine’ would not do for Whewell. He was passionate about nomenclature, and the process of labelling was central to his methodology.
Meritorious as they are,’ are no more to be compared with the painters of the Campo Santo than ‘the sonneteers of Henry the Eighth’s time are to be compared with Chaucer’. Once it was all Raphael, Guido Reni, and Giulio Romano with Hunt, now it is the ‘tender and noble Orcagna’ and ‘Giotto . . 95 In his Theories of the Symbol, Tzvetan Todorov points out how important to European Romanticism was the idea of the symbol and the way in which it was distinguished from allegory. For Coleridge ‘allegory is but a translation of abstract notions into a picturesque language .
An Introduction to Iconography by Roelof van Straten, Patricia de Man (trans)