Leonardo

Idea: A Concept in Art Theory by Erwin Panofsky; J. J. S. PeakeReview by: Eric Gustav CarlsonLeonardo, Vol. 4, No. 1 (Winter, 1971), pp. 85-86Published by: The MIT PressStable URL: http://www.jstor.org/stable/1572241 .

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concepts of recognition and of 'good' figures. Other theories of aesthetic perception are discussed in the book, including the ideas of Freud and Jung. She, however, dismisses the psychoanalytical approach of interpreting children's drawings and, instead, tends to support theories of aesthetics based on biological principles.

Children begin drawing with scribbles (bottom row) and progress to mandaloid designs (third row from bottom) that are later modified to create the human figure. (Part of figure shown on page 109 of the book is reproduced above.)

Aspects of Form. A Symposium on Form in Nature and Art. Ed. Lancelot Law Whyte. Lund Hum- phries, London, 1968. 254 pp., illus., 42s. (cloth), 27s. 6d. (paper). Reviewed by: John H. Holloway*

Scientists will never achieve finality in their attempts to express their understanding of the world and artists will never cease to try to stimulate and satisfy human emotions or widen man's comprehen- sion and deepen his perception of the world. But at the present time we are in an exciting phase in the progression of human endeavour. We are beginning to accept that there will be no single basis for a modern society, no single absolute science and no single dominant movement in any of the arts spheres. It seems that, as C. H. Waddington has pointed out, we should no longer seek a single unifying culture but accept a multitude of sub-cultures and seek to facilitate and encourage interaction at all levels. It is against this background that this second edition of Aspects of Form must be considered.

The original volume, published in 1951, was con- ceived as a catalogue to the Exhibition on 'Growth and Form' at the Institute of Contemporary Arts in London. However, the response from the very distinguished contributors was so enthusias- tic that the book grew as a separate symposium, discussing form from a variety of specialist view- points.

The 1968 edition is unchanged, except that an

* Chemistry Department, University of Aberdeen, Old Aberdeen AB9 2UE, Scotland.

concepts of recognition and of 'good' figures. Other theories of aesthetic perception are discussed in the book, including the ideas of Freud and Jung. She, however, dismisses the psychoanalytical approach of interpreting children's drawings and, instead, tends to support theories of aesthetics based on biological principles.

Children begin drawing with scribbles (bottom row) and progress to mandaloid designs (third row from bottom) that are later modified to create the human figure. (Part of figure shown on page 109 of the book is reproduced above.)

Aspects of Form. A Symposium on Form in Nature and Art. Ed. Lancelot Law Whyte. Lund Hum- phries, London, 1968. 254 pp., illus., 42s. (cloth), 27s. 6d. (paper). Reviewed by: John H. Holloway*

Scientists will never achieve finality in their attempts to express their understanding of the world and artists will never cease to try to stimulate and satisfy human emotions or widen man's comprehen- sion and deepen his perception of the world. But at the present time we are in an exciting phase in the progression of human endeavour. We are beginning to accept that there will be no single basis for a modern society, no single absolute science and no single dominant movement in any of the arts spheres. It seems that, as C. H. Waddington has pointed out, we should no longer seek a single unifying culture but accept a multitude of sub-cultures and seek to facilitate and encourage interaction at all levels. It is against this background that this second edition of Aspects of Form must be considered.

The original volume, published in 1951, was con- ceived as a catalogue to the Exhibition on 'Growth and Form' at the Institute of Contemporary Arts in London. However, the response from the very distinguished contributors was so enthusias- tic that the book grew as a separate symposium, discussing form from a variety of specialist view- points.

The 1968 edition is unchanged, except that an

* Chemistry Department, University of Aberdeen, Old Aberdeen AB9 2UE, Scotland.

concepts of recognition and of 'good' figures. Other theories of aesthetic perception are discussed in the book, including the ideas of Freud and Jung. She, however, dismisses the psychoanalytical approach of interpreting children's drawings and, instead, tends to support theories of aesthetics based on biological principles.

Children begin drawing with scribbles (bottom row) and progress to mandaloid designs (third row from bottom) that are later modified to create the human figure. (Part of figure shown on page 109 of the book is reproduced above.)

Aspects of Form. A Symposium on Form in Nature and Art. Ed. Lancelot Law Whyte. Lund Hum- phries, London, 1968. 254 pp., illus., 42s. (cloth), 27s. 6d. (paper). Reviewed by: John H. Holloway*

Scientists will never achieve finality in their attempts to express their understanding of the world and artists will never cease to try to stimulate and satisfy human emotions or widen man's comprehen- sion and deepen his perception of the world. But at the present time we are in an exciting phase in the progression of human endeavour. We are beginning to accept that there will be no single basis for a modern society, no single absolute science and no single dominant movement in any of the arts spheres. It seems that, as C. H. Waddington has pointed out, we should no longer seek a single unifying culture but accept a multitude of sub-cultures and seek to facilitate and encourage interaction at all levels. It is against this background that this second edition of Aspects of Form must be considered.

The original volume, published in 1951, was con- ceived as a catalogue to the Exhibition on 'Growth and Form' at the Institute of Contemporary Arts in London. However, the response from the very distinguished contributors was so enthusias- tic that the book grew as a separate symposium, discussing form from a variety of specialist view- points.

The 1968 edition is unchanged, except that an

* Chemistry Department, University of Aberdeen, Old Aberdeen AB9 2UE, Scotland.

additional Editorial Preface on the scientific advances made since 1951 and a Supplement to the Bibliography have been added.

The book serves as an excellent foundation for those interested in form. The eleven contributors provide fascinating accounts of their own areas of study, from the shapes of inorganic and biological forms (from the gross shape down to the shapes of their molecular constituents) to the activity patterns of the human brain and Gestalt psychology. Some articles assume more knowledge than others but none is so specialized as to be unintelligible and each can be read by itself.

The contributions in the second edition are rightly published without revision because together they constitute an authoritative, still unparalleled book; an undoubted classic. Lancelot Whyte's new preface is enthusiastic and infectious. It adds a new life and excitement to the book because it not only eloquently summarizes the scientific advances of the previous seventeen years but succeeds in showing that the preoccupation of science has been with increasing precision of analysis into smaller and smaller parts and that this approach now needs to be supplemented by a method capable of representing the processes of complex systems composed of many parts. He points out that this method will almost certainly be concerned with the identification of natural forms rather than the discovery of abstract laws. Thus the role of abstract theory, which has until now had the primary emphasis in modern science (but has been incomprehensible to non-specialists), is growing less but that of natural forms (immediate to the visual sense and thus easily intelligible) is increasing. Such developments would clearly be of the utmost importance since this immediacy of natural forms may permit a new general level of understanding of science.

This is an excellent book, worthy of the attention of any scientist, and of all but the purely mystical artist.

Idea: A Concept in Art Theory. Erwin Panofsky. Translated by J. J. S. Peake. University of South Carolina Press, Columbia, So. Carolina, 1968.

additional Editorial Preface on the scientific advances made since 1951 and a Supplement to the Bibliography have been added.

The book serves as an excellent foundation for those interested in form. The eleven contributors provide fascinating accounts of their own areas of study, from the shapes of inorganic and biological forms (from the gross shape down to the shapes of their molecular constituents) to the activity patterns of the human brain and Gestalt psychology. Some articles assume more knowledge than others but none is so specialized as to be unintelligible and each can be read by itself.

The contributions in the second edition are rightly published without revision because together they constitute an authoritative, still unparalleled book; an undoubted classic. Lancelot Whyte's new preface is enthusiastic and infectious. It adds a new life and excitement to the book because it not only eloquently summarizes the scientific advances of the previous seventeen years but succeeds in showing that the preoccupation of science has been with increasing precision of analysis into smaller and smaller parts and that this approach now needs to be supplemented by a method capable of representing the processes of complex systems composed of many parts. He points out that this method will almost certainly be concerned with the identification of natural forms rather than the discovery of abstract laws. Thus the role of abstract theory, which has until now had the primary emphasis in modern science (but has been incomprehensible to non-specialists), is growing less but that of natural forms (immediate to the visual sense and thus easily intelligible) is increasing. Such developments would clearly be of the utmost importance since this immediacy of natural forms may permit a new general level of understanding of science.

This is an excellent book, worthy of the attention of any scientist, and of all but the purely mystical artist.

Idea: A Concept in Art Theory. Erwin Panofsky. Translated by J. J. S. Peake. University of South Carolina Press, Columbia, So. Carolina, 1968.

additional Editorial Preface on the scientific advances made since 1951 and a Supplement to the Bibliography have been added.

The book serves as an excellent foundation for those interested in form. The eleven contributors provide fascinating accounts of their own areas of study, from the shapes of inorganic and biological forms (from the gross shape down to the shapes of their molecular constituents) to the activity patterns of the human brain and Gestalt psychology. Some articles assume more knowledge than others but none is so specialized as to be unintelligible and each can be read by itself.

The contributions in the second edition are rightly published without revision because together they constitute an authoritative, still unparalleled book; an undoubted classic. Lancelot Whyte's new preface is enthusiastic and infectious. It adds a new life and excitement to the book because it not only eloquently summarizes the scientific advances of the previous seventeen years but succeeds in showing that the preoccupation of science has been with increasing precision of analysis into smaller and smaller parts and that this approach now needs to be supplemented by a method capable of representing the processes of complex systems composed of many parts. He points out that this method will almost certainly be concerned with the identification of natural forms rather than the discovery of abstract laws. Thus the role of abstract theory, which has until now had the primary emphasis in modern science (but has been incomprehensible to non-specialists), is growing less but that of natural forms (immediate to the visual sense and thus easily intelligible) is increasing. Such developments would clearly be of the utmost importance since this immediacy of natural forms may permit a new general level of understanding of science.

This is an excellent book, worthy of the attention of any scientist, and of all but the purely mystical artist.

Idea: A Concept in Art Theory. Erwin Panofsky. Translated by J. J. S. Peake. University of South Carolina Press, Columbia, So. Carolina, 1968.

Books Books Books 85 85 85

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268 pp., illus., $7.50. Reviewed by: Eric Gustav Carlson*

Following Erwin Panofsky's death in March 1968, one obituarist noted that Panofsky was 'the world's most renowned historian of art' (Rensselaer W. Lee, Art Journal, XXVII/4, Summer 1968, p. 368). Few scholars in the discipline would dispute this. Consequently, anyone accepting an invitation to review a book by Panofsky does so with trepi- dation.

Idea is not a new book. It was originally pub- lished in German in 1924 ('Idea', ein Beitrage zur Begriffsgeschichte der alteren Kunsttheorie, Leipzig, Berlin, B. G. Teubner). An Italian translation appeared in 1952 (Idea; contributo alla storia dell'estetica, translated and introduced by Edmondo Cione, Florence, La Nuova Italia) and a second, corrected, German edition was issued in 1960 (Berlin, B. Hessling). The present translation, the first in the language of Panofsky's adopted country, the United States, is of the second German edition. It is to be hoped that it will not remain the only English language edition of Idea.

As the subtitle on the dust jacket states, Idea is 'a study of the changes in the definition and conception of the term "idea", from Plato to the 17th century, when the modern definition emerged.' More specifically, it is an investigation of the vicissitudes undergone by Plato's idea of the beautiful from Antiquity to the Baroque. Panofsky takes as his point of departure a lecture by Ernst Cassirer, 'Eidos und Eidolon: Das Problem des Schonen und der Kunst in Platos Dialogen' (Vortrdge der Biblio- thek Warburg, II/1, 1922-23, pp. 1-27). Both Cassirer and Panofsky intended their studies to be connected and both were published under the sponsorship of the Warburg Library.

In approaching his subject matter, Panofsky investigates the relationship between philosophies and art historical styles. Since his emphasis is of a philosophical bent, he deals more with theoretical writings than with actual artistic production, more with ideas thanwith objects. The writings he analyses are those of philosophers and churchmen - Aristotle, St. Augustine and St. Thomas Aquinas, for example-as well as those of such theoreticians and artists as Alberti, Leonardo, Michelangelo and Diirer. Lengthy selections from the work of three of the men discussed, Ficino, Lomazzo and Bellori, whose writings are less accessible, are included in two appendices (translated by Victor A. Velen).

Idea is typical of Panofsky's writing. Within a short essay (Idea is but 126 pages, exclusive of scholarly apparatus) devoted to a specific problem, he manages to touch on a number of related questions of wider scope. Thus, Panofsky makes provocative remarks about such broader questions as the changing role of art and the artist in society, the relationship between art, the artist and nature, and the discrepancies that sometimes appear between

268 pp., illus., $7.50. Reviewed by: Eric Gustav Carlson*

Following Erwin Panofsky's death in March 1968, one obituarist noted that Panofsky was 'the world's most renowned historian of art' (Rensselaer W. Lee, Art Journal, XXVII/4, Summer 1968, p. 368). Few scholars in the discipline would dispute this. Consequently, anyone accepting an invitation to review a book by Panofsky does so with trepi- dation.

Idea is not a new book. It was originally pub- lished in German in 1924 ('Idea', ein Beitrage zur Begriffsgeschichte der alteren Kunsttheorie, Leipzig, Berlin, B. G. Teubner). An Italian translation appeared in 1952 (Idea; contributo alla storia dell'estetica, translated and introduced by Edmondo Cione, Florence, La Nuova Italia) and a second, corrected, German edition was issued in 1960 (Berlin, B. Hessling). The present translation, the first in the language of Panofsky's adopted country, the United States, is of the second German edition. It is to be hoped that it will not remain the only English language edition of Idea.

As the subtitle on the dust jacket states, Idea is 'a study of the changes in the definition and conception of the term "idea", from Plato to the 17th century, when the modern definition emerged.' More specifically, it is an investigation of the vicissitudes undergone by Plato's idea of the beautiful from Antiquity to the Baroque. Panofsky takes as his point of departure a lecture by Ernst Cassirer, 'Eidos und Eidolon: Das Problem des Schonen und der Kunst in Platos Dialogen' (Vortrdge der Biblio- thek Warburg, II/1, 1922-23, pp. 1-27). Both Cassirer and Panofsky intended their studies to be connected and both were published under the sponsorship of the Warburg Library.

In approaching his subject matter, Panofsky investigates the relationship between philosophies and art historical styles. Since his emphasis is of a philosophical bent, he deals more with theoretical writings than with actual artistic production, more with ideas thanwith objects. The writings he analyses are those of philosophers and churchmen - Aristotle, St. Augustine and St. Thomas Aquinas, for example-as well as those of such theoreticians and artists as Alberti, Leonardo, Michelangelo and Diirer. Lengthy selections from the work of three of the men discussed, Ficino, Lomazzo and Bellori, whose writings are less accessible, are included in two appendices (translated by Victor A. Velen).

Idea is typical of Panofsky's writing. Within a short essay (Idea is but 126 pages, exclusive of scholarly apparatus) devoted to a specific problem, he manages to touch on a number of related questions of wider scope. Thus, Panofsky makes provocative remarks about such broader questions as the changing role of art and the artist in society, the relationship between art, the artist and nature, and the discrepancies that sometimes appear between artistic theory and production.

* Fine Arts Department, Harvard University, Cambridge, Mass., U.S.A.

artistic theory and production. * Fine Arts Department, Harvard University, Cambridge,

Mass., U.S.A.

As a document of Panofsky's early career, Idea presents some interesting aspects. In his later work, Panofsky was to study in greater depth several subjects which he had dealt with in Idea. One example of this is his Gothic Architecture and Scholasticism (Latrobe, Pennsylvania, Archabbey Press, 1951) which expands ideas presented in Chapter 3 of Idea. Methodologically, too, Idea hints at the future course of Panofsky's work. In Idea, questioning the connection between styles and thoughts, Panofsky is close to Max Dvorak and those who investigate the history of art as the history of ideas. In Panofsky's later work, this type of analysis is only one aspect of a three part approach to a work of art. This latter method, called Iconology, was not fully formulated by Panofsky until 1939 (Studies in Iconology, Humanistic Themes in the Art of the Renaissance, New York, Oxford University Press). It remains his most important contribution to art historical research.

Presumably the translator's purpose was to make Idea available to a wider public. Yet the appeal of Idea is largely scholarly, to persons who should be able to use the German edition. As a relatively youthful work in Panofsky's career, many of the ideas presented in the book are better presented elsewhere, often in Panofsky's later English publi- cations. Panofsky himself, in the forward to the 1960 edition of Idea, warns:

'.. .the reader of the work reprinted here should always keep in mind that it was written more than a generation ago and has in no way been "modern- ized". If books were subject to the same laws and regulations as pharmaceutical products, the dust jacket of every copy would have to bear the label "Use with Care"-or as it used to say on old medicine containers: CAVTIVS.'

A critical edition, taking into account subsequent scholarship and with an introductory essay placing the book both in Panofsky's career and in its historical context, would have been more welcome.

Engineering and the Liberal Arts. Samuel C. Florman. McGraw-Hill, New York, 1968. 278 pp., $8.95. Reviewed by: S. K. Ghaswala*

Engineers today stand at cross roads, one identi- fied by their own profession and the other by liberal arts or culture. The dynamic equilibrium between art and technics pleaded by Lewis Mumford and the reconciliation of 'two cultures' stressed by C. P. Snow are vital indicators of this dilemma. Now a con- struction engineer, Samuel C. Florman, has stepped into this arena to lead engineers directly into the stimulating world of liberal arts, using technology as a guide. He seeks to build a bridge between engineering and five other disciplines, namely, history, literature, philosophy, fine arts and music.

As a document of Panofsky's early career, Idea presents some interesting aspects. In his later work, Panofsky was to study in greater depth several subjects which he had dealt with in Idea. One example of this is his Gothic Architecture and Scholasticism (Latrobe, Pennsylvania, Archabbey Press, 1951) which expands ideas presented in Chapter 3 of Idea. Methodologically, too, Idea hints at the future course of Panofsky's work. In Idea, questioning the connection between styles and thoughts, Panofsky is close to Max Dvorak and those who investigate the history of art as the history of ideas. In Panofsky's later work, this type of analysis is only one aspect of a three part approach to a work of art. This latter method, called Iconology, was not fully formulated by Panofsky until 1939 (Studies in Iconology, Humanistic Themes in the Art of the Renaissance, New York, Oxford University Press). It remains his most important contribution to art historical research.

Presumably the translator's purpose was to make Idea available to a wider public. Yet the appeal of Idea is largely scholarly, to persons who should be able to use the German edition. As a relatively youthful work in Panofsky's career, many of the ideas presented in the book are better presented elsewhere, often in Panofsky's later English publi- cations. Panofsky himself, in the forward to the 1960 edition of Idea, warns:

'.. .the reader of the work reprinted here should always keep in mind that it was written more than a generation ago and has in no way been "modern- ized". If books were subject to the same laws and regulations as pharmaceutical products, the dust jacket of every copy would have to bear the label "Use with Care"-or as it used to say on old medicine containers: CAVTIVS.'

A critical edition, taking into account subsequent scholarship and with an introductory essay placing the book both in Panofsky's career and in its historical context, would have been more welcome.

Engineering and the Liberal Arts. Samuel C. Florman. McGraw-Hill, New York, 1968. 278 pp., $8.95. Reviewed by: S. K. Ghaswala*

Engineers today stand at cross roads, one identi- fied by their own profession and the other by liberal arts or culture. The dynamic equilibrium between art and technics pleaded by Lewis Mumford and the reconciliation of 'two cultures' stressed by C. P. Snow are vital indicators of this dilemma. Now a con- struction engineer, Samuel C. Florman, has stepped into this arena to lead engineers directly into the stimulating world of liberal arts, using technology as a guide. He seeks to build a bridge between engineering and five other disciplines, namely, history, literature, philosophy, fine arts and music. By liberally quoting various writers, giving practical examples and by presenting the theme intelligently, By liberally quoting various writers, giving practical examples and by presenting the theme intelligently, * Edena, 97 M. Karve Road, Bombay-20 BR, India. * Edena, 97 M. Karve Road, Bombay-20 BR, India.

86 86 Books Books

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