Results 131 to 140 of about 1,798 (192)
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RESEARCH OF AIGC AND HUMAN ART PICTURE CREATION BASED ON PANOFSKY’S THREE-LEVEL ICONOLOGY FRAMEWORK
Journal of Information Systems and Technology ManagementThis study investigates the narrative, symbolic, and cultural differences between AI-generated imagery (AIGC) and human-created realist artworks through Panofsky’s three-level iconology framework.
Yizhong Zhang +2 more
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LawArt, 2022
At the end of the 15th century, the Sala dell’Udienza of the Collegio del Cambio in Perugia was decorated thanks to the collaborative work of two of Renaissance Italy’s leading intellectuals, both profoundly linked to the city: Perugino (at that time ...
Stefania Gialdroni
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At the end of the 15th century, the Sala dell’Udienza of the Collegio del Cambio in Perugia was decorated thanks to the collaborative work of two of Renaissance Italy’s leading intellectuals, both profoundly linked to the city: Perugino (at that time ...
Stefania Gialdroni
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ARS
: This study aims to draw attention to the surprising frequency of images and motifs of boats and ships in Slovakia’s contemporary painting, to offer ways in which they may be contextualized and interpreted, and thus to contribute to understanding this ...
Peter Megyeši
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: This study aims to draw attention to the surprising frequency of images and motifs of boats and ships in Slovakia’s contemporary painting, to offer ways in which they may be contextualized and interpreted, and thus to contribute to understanding this ...
Peter Megyeši
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Theology and the Genesis of Iconology
Journal for the History of Modern Theology / Zeitschrift für Neuere TheologiegeschichteThe genesis of “iconology” as a method for art historical interpretation is commonly associated with the name of Aby Warburg, a historian of art and culture who first used this term in a 1912 lecture on Renaissance fresco painting.
H. C. Hönes
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2022
<div> <p>1. Introduction. 2. Lucina and the Key. 3. Lucina and the Open Hand. 4. Janus and Lucina. 5. Conclusions.</p> </div>
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<div> <p>1. Introduction. 2. Lucina and the Key. 3. Lucina and the Open Hand. 4. Janus and Lucina. 5. Conclusions.</p> </div>
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Cultural History
This article re-examines Erwin Panofsky’s iconology through two case studies: a Gandhāran toilet tray (1st–2nd c. CE) and the grave stele of Eupheros (c. 430 BCE).
Adam Raul Kaya
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This article re-examines Erwin Panofsky’s iconology through two case studies: a Gandhāran toilet tray (1st–2nd c. CE) and the grave stele of Eupheros (c. 430 BCE).
Adam Raul Kaya
semanticscholar +1 more source
Quintana revista do Departamento de Historia da Arte
Ever since the early 20th century, artists from several minority artistic and cultural settings have made use of canonical images from the Baroque and Renaissance periods of Saint Sebastian to explore subjects such as death, religion, and homosexuality ...
Dieison Marconi
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Ever since the early 20th century, artists from several minority artistic and cultural settings have made use of canonical images from the Baroque and Renaissance periods of Saint Sebastian to explore subjects such as death, religion, and homosexuality ...
Dieison Marconi
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Erwin Panofsky’s Iconology Concerning His Biography as a German-Jew Scholar
NaharaimThis article will inspect Erwin Panofsky’s innovations in the field of art history, as they were presented in his 1932 seminal German article. Its goal is to argue that the source for these innovations lies in his biography as a German Jewish scholar ...
Yonatan Harel
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LiberIC: Iconography and iconology knowledge organization in book representations in Painting
Education for Information, 2022This study introduces the preliminary design of LiberIC, which is a description and cataloging tool that collects, controls, contextualizes, classifies, and grants access to representations of books in painting.
Carlos Díaz-Redondo +2 more
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For an Iconology of the Emotions: A Warburgian Reading of Poliziano’s Stanze per la giostra
Mediterranean StudiesWhat is the relationship between image and text? Can we conceive of continuity between a visual image and a mental one? Is there an “opsis,” or a distinct category to frame the visuality within texts as a phenomenon of imagery?
Paolo Tabacchini
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