3. Perspectives in understanding and interpreting visual art in terms of social and political ends
3.2 Iconographical and iconological approaches
Since I shall be leaning on a close reading of the monument in question as well as a contextualization in this study, methodologically I shall rely on an iconographic perspective to understand art, but also elements of what is called a n iconological perspective, developed
9 7 Strunck has an extensive discussion of the history of the Colonna family in general, but not directly related to the fresco by Chiari, Strunck 2007.
9 8 Strunck infers from her own description of the family history, which emphasize the social aspects, to the intentions of the Colonna family in deciding upon the embellishment programme. There is nothing in her inquiry into the family archives that can prove such a connection. It would also be a difficult connection to establish or prove scientifically. In that case, it had to be a note, letter or contract indicating the intention of the Colonna family at that time. So far this has not been found, even if Strunck have done an impressive work in the archives of the Colonna family at the monastery of Subiaco.
9 9 This has already shortly been commented in chapter 2.
most explicitly by Panofsky.1 0 0 He defined three stages or levels of an iconographic and an iconological analysis and methodology in his search for the intrinsic meaning or content of art.1 0 1 On what Panofsky called the pre- iconographic level, the focus is on an enumeration of primary or natural subject matter, subdivided into factual and expressional.1 0 2 These set of pure forms would carry primary or natural meanings and constitute the artistic motifs.1 0 3 In the second stage or strata, the focus is on secondary or conventional subject matter.1 0 4 In this iconographic1 0 5 part of the analysis, we connect artistic motifs and combinations of artistic motifs (compositions) with themes or concepts.1 0 6 In this we identify the images, stories or allegories of a given piece of art. The third stage is the iconological analysis, where the intrinsic meaning or content of art is searched. According to Panofsky, it is apprehended by ascertaining those underlying principles which reveal the basic attitude of a nation, a period, a class [...] condensed into one work.1 0 7
To understand the fresco by Chiari as a document of the 17t h century society, we deal with a work of art as a symptom of this society. Accordingly, the compositional and iconographical features of the fresco becomes in a way evidence of this society. The interpretation of the symbolical values in the fresco becomes the object of what Panofsky calls iconology,1 0 8 as opposed to iconography.1 0 9
For Panofsky, art was one of several expressions in which the basic attitude of a nation, a period, a class, a religious or philosophical persuasion1 1 0 reveals itself. In conceiving the pure forms of a piece of art, the motifs, images, stories and allegories as
100 Panofsky discuss this most e xtensively in his book; Meaning in the Visual Arts from 1955.
101 Panofsky 1955:28-31.
102 Panofsky 1955:28.
103 Panofsky 1955:28.
104 Panofsky 1955:28.
105 The suffix –graphy means writing or a field of study and is inherited from the Latin –graphia and denotes something descriptive, Panofsky 1955:32.
106 Panofsky 1955:29.
107 Panofsky 1955:30. According to Holly, Panofsky’s ideas grew out of the epistemological field created by historians of culture as for instance Hegel, see Holly 1984:27. Panofsky, in Holly’s interpretation, took from Hegel […] his commitment to a historical understanding derived from a study of meaningful context, Holly 1984:30. When Panofsky relates his idea about the intrinsic meaning of art to the underlying principles revealing the basic attitude of a nation etc, this might be interesting to relate to the concept of Spirit in the writings of Hegel. In Reason in History, 1837/1953:89-90, Hegel writes that the spirit of a people […] is a definite spirit which builds itself up in an objective world. This world, then, stands and continues in its religion, its cult, its customs, its constitution and political laws, the whole scope of its institutions, its events and deeds. This is its work: this one people, also cited in Holly 1984:29. Hegel continues, [t]he spirit of the people, then, enjoys and satisfies itself in its work, Hegel 1837/1953:90. In this case, art could also be interpreted according to Hegel’s philosophy, to contain the spirit of the people, see Hegel 1837/1953:90.
108 The suffix logy is derived from Latin logos, meaning thought or reason. Iconology denotes therefore something interpretative, Panofsky 1955:32.
109 Panofsky 1955:31. In describing the content of the concept iconography, Panofsky says that iconography is a description and classification of images, Panofsky 1955:31.
110 Panofsky 1939:7
manifestations of underlying principles, Panofsky searched in his approach to interpret all these elements as symbolical values.1 1 1
Panofsky distinguishes iconology from iconography in that iconology consists of iconography “turned interpretative”.1 1 2 This provides useful analytical concepts for my study of the Chiari fresco. Panofsky`s analytical approach to analyzing the meaning of art is related to the writings of Aby Warburg. More simplified, Warburg explained the term of iconology as the study and interpretation of historical processes through visual images.1 1 3 Roskill relates this reading of visual evidence surviving from the past to ideology embodied in the conventions and beliefs or assumptions of a society, and argues that a relationship to ideology can equally be found in gestures, costumes, ornament, or building types.1 1 4 In his study of early Renaissance art, Warburg`s preoccupation with artistic choice led him to search for classical antique sources.1 1 5 He also investigated the close tie that binds the work of art to its social context and practical functions.1 1 6
In Gombrich`s biography over Warburg,1 1 7 he brings this argument further. He asserts that in understanding Warburg’s iconology, it is important to take into consideration that images also have a psychological and social significance.1 1 8 According to Gombrich, Warburg`s iconology aimed at a sensitivity to social overtones in the choice of images, which changes with time and milieu.1 1 9 Warburg`s interest in social psychology and his belief in the strength of environmental forces [made him, according to Gombrich] impatient of any attempt to see the work of art in isolation from its milieu.1 2 0
In line with Warburg`s and Panofsy`s approach to understanding art, an iconographic phase must be succeeded by an iconological analysis, where the piece of art is seen in relation to a larger context. In the next section, I will therefore define and discuss further a contextual approach to understanding art.
111 Panofsky 1955:31. With the use of the concept ”symbolical“ values, Panofsky refers to Ernst Cassirer, but without any clear reference to a specific text.
112 Panofsky 1955:32 and Roskill 1989:96.
113 Roskill 1989:96 with reference to Aby Warburg; Italienische Kunst und internationale Astrologie in Palazzo Schifanoia (lecture of 1912) , translated as; Italian Art and International Astrology in the Palazzo Schifanoia in Ferrara and printed in German Essays on Art History, ed. Gert Schiff, New York 1988:234-54.
114 Roskill 1989:96.
115 See for instance Warburg (1893)1932/1999:89-156.
116 Gertrud Bing in her Editorial Fore word to: Aby Warburg: The Renewal of Pagan Antiquity, 1932/1999:81.
117 Gombrich 1970.
118 Gombrich 1970:320.
119 Gombrich 1970: 320.
120 Gombrich 1970:319.
3.3. Contextualism as an approach to interpreting the purpose of the