Roelof van Straten - An Introduction to Iconography
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- Year:1994
- City:New York - London
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Documenting the Image
| A series edited by Helene E. Roberts, Dartmouth College, USA, and Brent Maddox, J. Paul Getty Center, USA |
| Documenting the Image describes the history, influences, and implications of visual artifacts. Its goals include publishing monographs and reference books that promote visual collections around the world. |
Volume 1
An Introduction to Iconography
Roelof van Straten
Volume 2
The Public Monument: Inquiries into Its Origins and Its Meanings
Edited by Donald M. Reynolds
Volume 3
Art History through the Camera's Lens
Edited by Helene E. Roberts
Additional Titles Forthcoming
This book is part of a series. The publisher will accept continuation orders which may be cancelled at any time and which provide for automatic billing and shipping of each title in the series upon publication. Please write for details.
ICONOGRAPHY
ROELOF VAN STRATEN
REVISED ENGLISH EDITION
Translated from the German by
Patricia de Man
Copyright 1994 OPA (Overseas Publishers Association) N.V. Published by
license under the Taylor & Francis imprint.
All rights reserved.
First published in English 1994
Second printing 2000
By Taylor & Francis
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
270 Madison Ave, New York NY 10016
Transferred to Digital Printing 2007
Originally published in Dutch in 1985, revised edition published in 1991, as
INLEIDING IN DE ICONOGRAFIE by Coutinho B.V., Muiderberg, The Netherlands.
Copyright 1985 by Coutinho B.V., Muiderberg, The
Netherlands.
Published in German in 1989 as EINFHRUNG IN DIE IKONOGRAPHIE by
Dietrich Reimer Verlag, Berlin, Federal Republic of Germany.
Copyright 1989 by Dietrich Reimer Verlag, Berlin, Federal Republic of Germany.
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the publisher.
| Library of Congress Cataloguing-in-Publication Data |
| Straten, Roelof van. |
| [Inleiding in de iconografie. English] |
| An Introduction to iconography / Roelof van Straten ; translated by Patricia de Man. Rev. ed. |
| p. cm. (Documenting the image, ISSN 1068-6894 ; v.l) |
| Originally presented as the authors thesis (doctoralLeiden). Includes bibliographical references and index. ISBN 2-88124-601-X (softcover) |
| 1. ArtThemes, motives. 2. ArtHistoriography. I. Title. II. Series. |
| N7565.S7713 1993 93-23373 |
| 704.9dc20 CIP |
Publisher's Note
The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original may be apparent
The idea is a sign of things,
and the image is sign of the idea,
dsign of a sign.
Umber to Eco, The Name of the Rose
APPENDIX
An Overview of the ICONCLASS System.
Index
Documenting the Image is devoted to describing the history, process, and use of visual documents. As many events and most artifacts are known and studied through images made of them, the study of the creation, collection, and use of these images becomes crucial to our understanding of the originals. Documenting the Image will provide an arena for discussion of the influence of visual documentation on culture, academic disciplines, and ways of thinking. It will inquire into how visual language is structured and how visual meaning is communicated. It will explore the visual documentation of artifacts through drawings, casts, facsimiles, engravings, and photography, and it will describe the effects of the new electronic technology on visual resources. Through the publication of catalogs of visual materials, it will seek to make these collections better known and more accessible to a wide range of potential users. In addition, the series will provide reference tools which support the description, organization, and use of visual collections.
Photographic Acknowledgements
Numbers refer to illustration numbers.
Amsterdam, Rijksmuseum 20, 22, 3640, 55; Antwerp, Koninklijk Museum voor Schone Kunsten 11; The Hague, Rijksbureau voor Kunsthistorische Documentatie 3; Leiden, Prentenkabinet der Rijksuniversiteit 5, 12, 14, 24, 32, 41, 44, 45, 48, 53, 57; Leiden, Stedelijk Museum de Lakenhal 2; Marburg an der Lahn, Bildarchiv Foto Marburg 4, 910, 13, 1519, 21, 3335, 3738, 43, 46 and 47, 58; New York, The Metropolitan Museum of Art 8; Utrecht, Centraal Museum 42; Utrecht, Kunsthistorisch Instituut der Rijksuniversiteit 6; Washington, National Gallery of Art 1.
Originally, I wrote this book as a doctoral dissertation, concluding my study of art history and archaeology at the University of Leiden, The Netherlands.
Following its success in Holland and Germany, predominantly as a university course-book, I am very glad that an English translation now is available.
In England and the United States, a great interest in iconography developed after World War II, stimulated by a number of German scholars who had fled from Germany before 1940, such as Erwin Panofsky and Ernst H. Gombrich. I hope that the present book conveys more recent developments in iconography.
For her enormous help and encouragement, my greatest thanks to Helene E. Roberts. For their assistance and cooperation, I am most grateful to the publishers and, in particular, to Patricia de Man, who translated this volume from the German.
Despite the fact that iconography the study of themes, objects, and subjects in the visual arts is one of the main branches of art history, there is still no general introduction to it. The aim of this book is therefore to describe the fundamentals of iconography to students of art history, as well as to art historians and cultural historians.
The first, theoretical part of this book is divided into four chapters. The first chapter answers the question, What is iconography? while the other three chapters deal with several concepts frequently used within iconography, personification, allegory, and symbols. Each chapter contains definitions, examples, a short historical abstract, and bibliographic references that enable the reader to orient himself further.
It is not always possible to give precise definitions of the concepts dealt with in this book. It is certainly possible, therefore, that criticisms will now and then arise. I hope, nevertheless, that my descriptions will clarify what we understand, or could understand, by these art-historical terms. I am also aware that many problems are more complex than their representations here.
The second part of the book is directed more towards practical questions: Which literary sources were often used by the artists? What are the most important iconographic handbooks? What is ICONCLASS and what practical possibilities does this publication open up for iconographic investigations?
I will attempt to give conclusive answers to these questions. I have essentially limited myself to Western art from the sixteenth to the eighteenth centuries, since many students, during the course of their studies, are concerned mainly with iconographic problems of this period.
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