Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism

One of the most prominent philosophical legacies in the historiography of art history is Erwin Panofsky’s debt to Immanuel Kant. Structurally and thematically, Panofsky imports philosophy, embodied by Kant, into the body of the younger discipline. I will argue that it is Kant’s vision of cosmopolita...

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Main Author: Mark A. Cheetham
Format: Article
Language:English
Published: Department of Art History, University of Birmingham 2009-12-01
Series:Journal of Art Historiography
Subjects:
Online Access:http://arthistoriography.files.wordpress.com/2011/02/media_139137_en.pdf
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description One of the most prominent philosophical legacies in the historiography of art history is Erwin Panofsky’s debt to Immanuel Kant. Structurally and thematically, Panofsky imports philosophy, embodied by Kant, into the body of the younger discipline. I will argue that it is Kant’s vision of cosmopolitanism that governs the relationships between philosophy and art history for Panofsky. What I call "theory reception” – how Panofsky received Kant and how art history in the U.S.A. received Panofsky, however much he may have downplayed the theoretical aspects of his later work - was in part determined, as it often is, by political factors. I will also ask what would it mean for art history to be cosmopolitan now? To approach these questions, we need to move away from both art history and philosophy to study the re-engagement with the term cosmopolitan in other contemporary discourses.
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spelling doaj.art-78624ba902c64673a3962cafc9b8b8d52022-12-21T20:26:35ZengDepartment of Art History, University of BirminghamJournal of Art Historiography2042-47522009-12-0111MAC/1Theory reception: Panofsky, Kant, and disciplinary cosmopolitanismMark A. CheethamOne of the most prominent philosophical legacies in the historiography of art history is Erwin Panofsky’s debt to Immanuel Kant. Structurally and thematically, Panofsky imports philosophy, embodied by Kant, into the body of the younger discipline. I will argue that it is Kant’s vision of cosmopolitanism that governs the relationships between philosophy and art history for Panofsky. What I call "theory reception” – how Panofsky received Kant and how art history in the U.S.A. received Panofsky, however much he may have downplayed the theoretical aspects of his later work - was in part determined, as it often is, by political factors. I will also ask what would it mean for art history to be cosmopolitan now? To approach these questions, we need to move away from both art history and philosophy to study the re-engagement with the term cosmopolitan in other contemporary discourses.http://arthistoriography.files.wordpress.com/2011/02/media_139137_en.pdfKantPanofskycosmopolitanismuniversality of art
spellingShingle Mark A. Cheetham
Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism
Journal of Art Historiography
Kant
Panofsky
cosmopolitanism
universality of art
title Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism
title_full Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism
title_fullStr Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism
title_full_unstemmed Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism
title_short Theory reception: Panofsky, Kant, and disciplinary cosmopolitanism
title_sort theory reception panofsky kant and disciplinary cosmopolitanism
topic Kant
Panofsky
cosmopolitanism
universality of art
url http://arthistoriography.files.wordpress.com/2011/02/media_139137_en.pdf
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