Page 170 - Masters

master

kATARINA dRIENOVSkA

Born in Slovak Republic Lives and works in Salerno, Italy

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Art can not absolutely be passive towards problems.
The methodologies of a critical study and research for
a correct understanding should be deeply involved in
the analysis about the connection among art, nature,
reality and anthropology in order to further examine
the considerations on philosophical aesthetics, in
this way bringing out the difficult relationship of an
artist’s style of life in the modem world. It could be a
significant contribution to art (and its history) in order
to give it the strength to be “the soul of the world and
the intelligence to be the meaning of reality”.
A science like iconology rightly aims, in a transverse
way, to understand and consolidate the connections
that exist among the various disciplines. In this way it
contributes to keeping art in a position of privilege. As
Erwin Panofsky pointed out, iconology is the study of
the purpose that belongs to images and to the selected
subject in their artistic representation. Therefore we
can consider this discipline the study of the historical,
social, religious, philosophical, and cultural content,
of which subjects and images are direct expression,
even if sometimes unrelated to the one who has used
those subjects. The role of iconology is, in a certain
way, lined up with the iconographic method of Aby
warburg who studies the programmatic, literary and
learned aspects of works of art in “contraposition” with
formal analysis. It is related to the theory of ’symbolic
forms’: it is an analysis which goes beyond the explicit
meanings of works of art, beyond their ultimate and
essential content, identifying those fundamental
principles which reveal the basic line of a nation,
a period, social class, a religious or philosophical
concept, unconsciously qualified by a personality or
abridged in one work. Iconology aims at interpretation
those symbolic values sometimes ignored by the artist
himself and which may differ, even manifestly, from
what he consciously wanted to express. The subject of
a symbol can reveal a meaning consciously bestowed
by the artist, if this desired significance is at the same
time also deliberately hidden; here the iconographical
analysis is necessarily transformed into a sort of
deciphering. (Andrea Pagnes)

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