It is obvious that the historian who seeks to recapture the ideas that have motivated human behavior throughout a given period will find the art and literature of that age one of his central and major concerns, by no means a mere supplement or adjunct of significant historical research.

In 1496 he executed the Prodigal Son, which the Italian Renaissance art historian Giorgio Vasari singled out for praise some decades later, noting its Germanic quality.

Art historian Richard Poss took a more flexible approach, maintaining that the astronomical rock art of the North American Southwest should be read employing " the hermeneutic traditions of western art history and art criticism " Astronomers, however, raise different questions, seeking to provide their students with identifiable precursors of their discipline, and are especially concerned with the important question of how to confirm that specific sites are, indeed, intentionally astronomical.

But Pissarro eventually found their teaching methods “ stifling ,” states art historian John Rewald.

His work has also been described by art historian Diane Kelder as expressing " the same quiet dignity, sincerity, and durability that distinguished his person.

* 1910 – Russell Lynes, American art historian, photographer, author and managing editor of Harper's Magazine ( d. 1991 )

* 1717 – Johann Joachim Winckelmann, German art historian ( d. 1768 )

He met the influential early neoclassical painter Raphael Mengs ( 1728 – 1779 ), and through Mengs was introduced to the pathbreaking theories of art historian Johann Joachim Winckelmann ( 1717 – 1768 ).

The new style was influenced heavily by the work of art historian Johann Joachim Winkelmann.

* 1922 – Hans Rookmaaker, Dutch professor and art historian ( d. 1977 )

His talent extended beyond the confines of his sculpture to consideration of the setting in which it would be situated ; his ability to synthesise sculpture, painting and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the " unity of the visual arts.

" For anarchist historian George Woodcock " Wilde's aim in The Soul of Man under Socialism is to seek the society most favorable to the artist ... for Wilde art is the supreme end, containing within itself enlightenment and regeneration, to which all else in society must be subordinated ... Wilde represents the anarchist as aesthete.

" For anarchist historian George Woodcock " Wilde's aim in The Soul of Man under Socialism is to seek the society most favorable to the artist ... for Wilde art is the supreme end, containing within itself enlightenment and regeneration, to which all else in society must be subordinated ... Wilde represents the anarchist as aesthete.

* 1947 – David Shapiro, American poet, literary critic, and art historian

* 1902 – Nikolaus Pevsner, German-born art historian ( d. 1983 )

* John A. Walker ( born 1938 ), British art critic and historian

), Russian art historian

* Peggy L. Schiffer, an art historian and daughter of Dr. Morton A. Schiffer.

The Westernizer artist and art historian Alexandre Benois was one such critic.

" For anarchist historian George Woodcock " Wilde's aim in The Soul of Man under Socialism is to seek the society most favorable to the artist ... for Wilde art is the supreme end, containing within itself enlightenment and regeneration, to which all else in society must be subordinated .... Wilde represents the anarchist as aesthete.

The art historian Giordano Berti has defined him as " the Prince of Labyrinths " due to his ability to create using the refined Trompe-l ' œil technique, a considerable number of absolutely innovative, almost modelled structures.

* Émile Mâle ( 1862 – 1954 ), French art historian

Oswald Manuel Arnold Gottfried Spengler ( 29 May 1880 – 8 May 1936 ) was a German historian and philosopher whose interests also included mathematics, science, and art.

The art historian Erwin Panofsky observed of this resistance to the concept of Renaissance

Erwin Panofsky in his 1953 Early Netherlandish Painting ( p. 347 ), says of Memling: "... while the Romantics and the Victorians considered his sweetness the very summit of Medieval art, we feel inclined to compare him to a composer such as Felix Mendelssohn: he occasionally enchants, never offends, and never overwhelms.

In his Meaning in the Visual Arts ( 1955 ), Erwin Panofsky explains the difference between a connoisseur and an art historian: " The connoisseur might be defined as a laconic art historian, and the art historian as a loquacious connoisseur.

" The former interpretation is now generally considered more likely ; the ambiguity of the phrase is the subject of a famous essay by the art historian Erwin Panofsky ( see References ).

Erwin Panofsky ( 30 March 1892 – 14 March 1968 ) was a German art historian.

Art historian Erwin Panofsky applied the term " Ars nova " (" new art ") and " Nouvelle pratique " (" new practice "), thereby linking the movement with innovative composers such as Guillaume Dufay and Gilles Binchois favoured by the Burgundian court of the time.

Following the lead of Max Friedländer, Erwin Panofsky, Otto Pächt and other German-language art historians, English-language scholars typically describe the period as " Early Netherlandish painting " ( German: Altniederländische Malerei ).

Doll Man was the lead feature of the anthology series Feature Comics through # 139 ( October, 1949 ), with Eisner writing the early stories under the pen name " William Erwin Maxwell ", and art contributed first by Lou Fine, and later by Reed Crandall.

* Erwin Gorostiza — art direction

Panofsky was born the son of renowned art historian Erwin Panofsky in Berlin, Germany.

Other artists include Steve Erwin and Bob Dienethal who drew traditional art on board that was digitized, and Charlie Athanas who re-established the practice of creating the comic directly on the computer.

) First Comics continues the title using other artists, including Steve Erwin and Bob Dienethal, who draw traditional art on board that is then digitized, while they look for someone to pick up the task of drawing the art directly on a computer.

Warburg ’ s study introduced into art history a new method, that of iconography or iconology, later developed by Erwin Panofsky.

His connection to the Grand Central Art Galleries began when he befriended Erwin Barrie, who once managed Carson Pirie Scott's art collection.

The distinguished art historian Erwin Panofsky ( 1955 ) allowed three levels to iconography.

In February 1971, Joseph Beuys and Erwin Heerich invited him to sign a " Call to Action " manifesto demanding the freeing of the German art market.

At the same time, he studied art with Erwin Oehme, who, recognising his artistic intuition, suggested that he go to Paris.

Panofsky became particularly well known for his studies of symbols and iconography within works of art.

For Panofsky, it was important to consider all three strata as one examines Renaissance art.

Irving Lavin says, " it was this insistence on, and search for, meaning — especially in places where no one suspected there was any — that led Panofsky to understand art, as no previous historian had, as an intellectual endeavor on a par with the traditional liberal arts.

It seems as if art historian Ludwig Heinrich Heydenreich, who had studied under Panofsky, was in the possession of this manuscript from 1946 to 1970.

Panofsky codified an influential approach to iconography in his 1939 Studies in Iconology, where he defined it as " the branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to form ," although the distinction he and other scholars drew between particular definitions of " iconography " ( put simply, the identification of visual content ) and " iconology " ( the analysis of the meaning of that content ), has not been generally accepted, though it is still used by some writers.