# Fame.am profile — machine-readable export
# Canonical URL: https://fame.am/person/erwin-panofsky
# Generated: 2026-08-31T15:47:19.617Z

schema: https://schema.org/Person
url: "https://fame.am/person/erwin-panofsky"
name: "Erwin Panofsky"
slug: "erwin-panofsky"
description: "He taught the world to read paintings the way you'd read philosophy—layers of meaning coded in gesture, symbol, arrangement. His method turned art history into a discipline that could think."
tagline: "German art historian (1892–1968)"
image: "https://commons.wikimedia.org/wiki/Special:FilePath/Erwin_Panofsky_at_Oberlin_College_(1950)_(cropped).jpg"
gender: "male"
country:
  name: "Germany"
  isoCode: "DE"
category:
  name: "Writers"
  slug: "writers"
profileType:
  name: "Writer / Author"
  slug: "writer"
birthDate: "1892-03-30"
deathDate: "1968-03-14"
livingStatus: "DECEASED"
scores:
  popularity:           55.44
  momentum:             1.555983867796727
  historical:           23.857184
  currentAttention:     2.25377507324769
  sourceConfidence:     60
  profileCompleteness:  70
  trendDirection:       "STABLE"
ranks:
  global:   null
  country:  null
  category: null
tags:
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    slug: "academics"
  - name: "Academic"
    slug: "academic"
  - name: "Literature"
    slug: "literature"
  - name: "History"
    slug: "history"
  - name: "Germany"
    slug: "germany"
  - name: "Europe"
    slug: "europe"
  - name: "20th Century"
    slug: "20th-century"
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    title: "Erwin Panofsky"
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    title: "Erwin Panofsky"
    type:  "WIKIPEDIA"
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    title: "Էրվին Պանոֆսկի"
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    title: "إروين بانوفسكي"
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# bio (long form, separated for readability)
bio: |
  Born in Germany in 1892, Panofsky made his name decoding the intellectual scaffolding beneath Renaissance art, arguing that images and ideas moved in tandem, each interpreting the other. The Nazi rise sent him to the United States, where he continued the work that would define modern iconography. His studies on Albrecht Dürer, early Netherlandish painting, and humanist themes in Renaissance art became foundational texts, still assigned decades later. He died in 1968, having transformed how scholars approach the visual artifact—not as decoration, but as argument.