Examples in the art of romance show in image analysis similar motives.
Image analysis by Erwin Panofski
- Image analysis in the field of art can be carried out in different forms. Known among art historians is the analysis by Erwin Panofski which is divided into three stages. With it also a screen example of the romance can be interpreted.
- Erwin Panofskis analysis begins with the pre-iconographic description. In this, the molds are described in the picture. The forms already received a meaning. For example, in an image as a sun shown, it can be titled as a sun. However, their shape and color must be named.
- The pre-iconographic description follows the iconographic analysis. It deals with the secondary importance of forms. So questions are asked such as "in the picture is an allegory or an anecdote that was typical in the period in which the picture was painted?" or "Which topics, concepts or gestures are shown in the picture?", "Will the time known people represented?" For this part of the analyst needs specific knowledge of art history, which can be acquired through literature.
- The third step in image analysis is the iconological interpretation. For this step, especially historical knowledge is necessary to put the image in a historical context. This should respect the religious and philosophical settings of the Company that has arisen at the time the work, are set with the image in a relationship. Among other things, the issue is important, such as "What belief prevailed at the time?"
The art of romance example "Wanderer above the Sea of Fog"
- This image analysis can be applied to the art of romance. An example is "Wanderer above the Sea of Fog" the greatest representative of this period, Caspar David Friedrich. The oil painting was created in 1818 and has a size of 74.8 cm x 98.4 cm.
- Pre-iconographic description: The picture shows an elderly man in the back view of a rocky cliff. He is dressed elegantly and holding a cane in his right hand. The man looks at a present him rocky landscape, lies on the fog. It protrude rocks and peaks peaks of the fog.
- The man on the rock provides a color contrast to the fog-rock landscape. The foreground of the picture, in which the Lord is seen is very dark. In contrast, the foggy landscape, which is decorated in bright colors and blue.
- With regard to the geometric division of the picture is to say that the man is the center, because all lines run towards it. In addition, it is located exactly in the central axis of the work. It emphasizes his central position and through the rock on which it stands. This is tapered and at the top is the man.
- In the iconographic analysis is to say that the image covers some themes of romanticism. It is primarily the topics "Lives" and "Wanderlust", who were treated in the romance very often. In addition, the hiking and travel motif is found in the literature, painting and other arts very often again, which also reflects this.
- Concerning iconological interpretation is to say that the time of Romanticism strongly on the consequences of industrialization. The world of machines and urbanization awakens in people the need for security and connection with nature. People are fleeing in art, literature and music in fantasy worlds and broach dreams to get away from the Biedermeier, enlightened, rational society.
- The image "Wanderer above the Sea of Fog" can be in the image analysis clearly Romanticism zudeuten. The man embodies the longing for nature experience, according to the distance and a world that is in the fog. It embodies both the townspeople who falls into a melancholy and the city turns its back. At the same time the human being is a projection figure for the viewer because he can empathize with the back view in the person.