The words “iconology” and “iconography” are often confused, and they have never been given definitions accepted by all iconographers and iconologists. Panofsky 1955 (cited under General Overviews) defined “iconography” as the study of subject matter in the visual arts and “iconology” as an attempt to analyze the significance of that subject matter within the culture that produced it. This definition was prescriptive rather than descriptive, and many art historians before Erwin Panofsky who would have called themselves “iconographers” were engaged in investigations that Panofsky would have termed “iconological.” Another source of semantic disagreement has arisen from the perceived overinterpretations of Panofsky and his school, which have led some art historians to reject the word “iconology.” It seems useful, nevertheless, to keep a distinction between iconography and iconology, since it draws attention to a fundamental distinction between the study of words and the study of images. While iconology corresponds to the historical criticism of texts in literary studies, iconography has no obvious counterpart outside histories of the visual. At the same time, in art historical practice iconography and iconology feed into each other, as the literature surveyed in this bibliography shows.
Iconology is the study of the meaning contained within the symbols in a particular work of art. Iconography, the science of identification, description, classification, and interpretation of symbols, themes, and subject matter in the visual arts.
