Art and Illusion a Study in the Psychology of Pictorial Representation 2000 Editions

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Aug 13, 2008 Jessica rated information technology really liked it

This book attempts to answer the question, if artists throughout fourth dimension take attempted to portray the world 'realistically', why are at that place and so many unlike styles? Why, for example, did the Egyptians portray people as partially sideways and partially forrard? Must nosotros assume that they literally saw people like that?
Gombrich argues that the Greeks fundamentally changed the course of art. Under them, information technology became more casual, art for art's sake, instead of magical images filled with power. Over time, This book attempts to answer the question, if artists throughout fourth dimension take attempted to portray the world 'realistically', why are there and so many different styles? Why, for example, did the Egyptians portray people as partially sideways and partially frontward? Must we assume that they literally saw people like that?
Gombrich argues that the Greeks fundamentally changed the grade of fine art. Under them, it became more casual, art for fine art'southward sake, instead of magical images filled with power. Over time, with each new generation, experiments with art allowed artists to discover new tricks to make u.s.a. believe in the 'reality' of what they painted. This does not mean that artists are painting what they literally see; instead, they accept a repertoire of conventions that we equally viewers have learned to interpret as a real represenation of the matter painted. Gombrich emphasizes both the office of the artist as the presenter of a painting, and even more than, the role of the beholder in interpreting what is painted.
This is primarily based on Western art, though Gombrich does besides investigate Asian fine art and it's differing philosophy. Both add together to his hypothesis that seeing is interpreting; that there is no way to portray exactly what is seen with no interpretation; and that art has developed the mode it has to give u.s. a possible estimation that a paintin is realistic, and it does and so through a series of tricks.
An excellent book for someone interested in the theory of visual images, and it is pretty accessible, though a knowledge of art history is certainly helpful. ...more

Aug 06, 2007 Afshi rated it it was amazing  · review of another edition

Recommends it for: art/psych nerds.

Actually interesting, and easy to read (although a lilliputian too wordy at times). Likewise kind of fun. The book spans through the history of art, and fifty-fifty though the author highlights some of the major artists in each period and analyzes their art using different theories in visual psychology, he as well does an in depth assay of the viewer. I was particularly interested in the sections most Klee and Durer. Kind of brings new insight to traditional ideas about looking at fine art.

Nov 18, 2018 Sarah rated it it was amazing

At that place's no way I tin do this book justice in a synopsis. But here goes...

Information technology's art history examined through the lens of cerebral science: what we see, how we process what we see, how we engage with what we run across, and how that engagement becomes a linguistic communication. Gombrich doesn't discuss every unmarried art motility. (That volume would go on forever.) But I really wish he had! His insights are fascinating and—more often than non—hitting upon much deeper truths. I of those rare instances of a book that's both en

There'due south no way I can exercise this book justice in a synopsis. But hither goes...

It's art history examined through the lens of cerebral science: what nosotros see, how we process what we encounter, how we engage with what nosotros see, and how that date becomes a language. Gombrich doesn't talk over every single art movement. (That book would go on forever.) Merely I really wish he had! His insights are fascinating and—generally—hit upon much deeper truths. One of those rare instances of a volume that's both enlightening and a lot of fun to read.

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Jan eleven, 2021 James Foster rated it it was amazing

"Art and Illusion: A Report in the Psychology of Pictorial Representation," publishes the 1956 Mellon Lecture by Due east. H. Gombrich, the eminent art historian. I read a couple chapters of this for my Art 101 course in college, and I've held onto the volume for years (ok, decades) intending to someday read it from cover to cover. I finally finished that.

And I'yard glad I did.

Gombrich begins with a penetrating question which seems, as so many not bad questions practise, overly simple-minded at starting time glance: "why do

"Fine art and Illusion: A Study in the Psychology of Pictorial Representation," publishes the 1956 Mellon Lecture by East. H. Gombrich, the eminent art historian. I read a couple chapters of this for my Art 101 course in college, and I've held onto the book for years (ok, decades) intending to someday read it from cover to cover. I finally finished that.

And I'm glad I did.

Gombrich begins with a penetrating question which seems, as so many great questions exercise, overly simple-minded at first glance: "why does art history be"? Nosotros might be tempted to respond that of course art changes, since societies modify. But if homo psychology is basically the same as it has always been, and if (pictorial) fine art is about representing the world, then why wouldn't art always expect the aforementioned, like apprentice photographs for example? Why would Egyptian Fine art exist and then instantly recognizable? What led to Impressionism? Why, to exist a flake art-wonky, did Constable commencement using green pigment, rather than blue or dark-brown? Did the Egyptians really see flat people? Were they incapable of realistic depictions? Did people'southward eyes get bad in the 1800s? Did the world suddenly turn xanthous in the 1700s? Clearly the history of changing styles in fine art needs an explanation.

At the risk of oversimplifying, Gombrich's answer is that artists chose to represent different things, and to literally experiment with how they did it. Egyptian pictures of farmers, for example, all wore the same clothing, held the same posture, and wore the same hairstyle. Gombrich argues that this is because they are depictions of a "farmer", not an individual person who farms. Given that goal, the particularities that would make one farmer look unlike from another are irrelevant. This art shows a "what", not a "who" or a "how", as Gombrich puts it. The Egyptian creative person begins with a template or stereotype of what features make a "farmer", then uses that to describe how this particular harvest was a good i, or to assure a spirit in the afterlife that they are surrounded by many "farmers" so that they need not fearfulness starving. This is consequent with the psychology of the intended Egyptian viewer, to whom irrelevant details would be noise.

These building blocks modify as the role of the artist changes. The portraitist's chore is to depict individuals, showing a "who" rather than just a "what". Greek statues depict recognizably dissimilar persons, so we tin tell Greek art apart from Egyptian fine art. Withal, a statue of Hermes, say, is somewhere betwixt a "what" and a "who". A detail statue will have a recognizably individual face, but he will also have a winged helmet and caduceus so you know who it is. Notwithstanding, as the job of the artist moves from exposition to representation it becomes necessary to change not just what is depicted, merely how it is depicted.

Gombrich posits that artists follow a hypothetico-deductive method. It is no coincidence that Gombrich was a friend of Karl Popper. The artist posits that such-and-such a thing is what really matters, and hypothesizes that such-and-such a process will realize that objective. Then he or she uses that process, adjusting as necessary to go closer to the objective. For instance, the commencement Greek sculptors who decided that individuation of subject field mattered hypothesized that what mattered was the face. This is why the bodies of their sculptures were rigid, almost formulaic, at first, while the faces became more differentiated. Later Greek sculptures wanted to depict movement, not just likeness, so they showed twisted poses that seem gear up to unwind, and folds and creases in clothing that hint at a breeze.

Constable hypothesized that color mattered, so that merely depicting perspective by varying dejection and browns was bereft. He further hypothesized that what mattered more than the actual color was the dissimilarity betwixt unlike patches of color. A field of grass is not a compatible light-green, nor is a field of daffodils uniformly yellow. The claiming of showing the difference betwixt light and shadow was especially astute. His purpose was to describe nature in full color. And then he bankrupt with most of his predecessors, covering the canvass with broadly contrasting shades of green and yellow. The fact that humans respond to contrasts rather than to hues is also based in our psychology.

Another hypothesis is that shape matters more than depiction, so that vague or indistinct blotches of paint can communicate field of study affair more effectively than precise harmony of marks on the canvass with the topology of the subject area. Look closely at a gold chain in a Rembrandt and you will come across dabs of bright paint, non links. Clouds are notoriously difficult to "get correct" if one tries to be precise. Turner and Constable eventually experimented with blotches and dabs, which more than effectively evoked the idea of the outdoors for the viewer.

More generally, the details that affair are those relevant to why the art is beingness made. A renaissance portrayal of a gothic cathedral will be more symmetric than the reality, since the purpose is to show "a gothic cathedral" rather than a particular construction that was built over the course of many decades, rather than from the blueprint of an individual architect. Therefore, sketches of Chartres, for instance, will exist instantly recognizable from creative person to artist over time. Simply they will not expect alike. Each volition reverberate the style of the solar day rather than the pedantic similarity with the edifice itself.

The Impressionists were particularly dissatisfied with the mode light was depicted. For them the task was to show lite, so that the viewer would experience the actual luminosity of the scene, rather than to merely use a depiction of lite to evidence depth or contrast. Their hypothesis was that i could portray the light direct, and build up an image of a scene from that. Some tried smudges of color (Monet), some points of color (Seurat), and some streaks (Van Gough). The new way arose from a new hypothesis about what mattered in the delineation, and virtually how it could be expressed. This, too, stems from the psychology of gestalt perception.

I was disappointed that Gombrich didn't talk more about modern fine art. At that place is some of that here. Information technology was particularly interesting to see graphic art poked and prodded from the psychological perspective. Simply so much more could be said.

This book is full of plates, many in full color, illustrating the signal existence fabricated. I looked through the pictures before reading the book—that's what we all do with an fine art volume, right?. Some were interesting, merely not many screamed "Await AT ME!". Referring to the plates as examples of the statement Gombrich was making, however, was a totally different experience. The artwork here is excellent. It isn't as good as visiting an art gallery with an excellent bout guide. But it may exist even better, since yous can explore, and really feel, the art on your ain.

I loved this book. It changes the experience of viewing fine art to continually ask "what were they trying to practise? How is that different from what came before? What new technique did they invent to do it?" and "did it work?". This active viewing is much more rewarding than settling for "what is this a scene of?", or "who was this artist?", or "practice I like this?". The get-go approach is a dialogue with the artist, exploring our own psychology, raising the question of how we might perceive the earth differently. The latter is mere voyeurism.

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Preface
Preface to the Second Edition
Preface to the Third Edition
Preface to the Fourth Edition
Preface to the 5th Edition

--Art and Illusion

Hindsight
Notes
List of Illustrations
Alphabetize

One of the most courageous and intellectually exploratory art study I had the opportunity to read. Written on 1960'south, is a groundbreaking publication on a very intriguing subject area. Don't remember psychology and visual art could find a more rigorous and mannerly writer. One of the most courageous and intellectually exploratory art study I had the opportunity to read. Written on 1960'due south, is a groundbreaking publication on a very intriguing subject. Don't think psychology and visual art could find a more rigorous and mannerly writer. ...more

Dec 06, 2014 Eleanor rated it it was amazing

I cannot say plenty good most this book. Remember of sitting downwardly with a learned only accessible proficient, someone who is both eloquent and down-to-earth. That feeling, and the knowledge shared, is this book. EH Gombrich must have been an amazing and mesmerizing lecturer. I am now seeking his other classic, The Story of Art. This book is for anyone, creative person or not, who has ever contemplated a great painting or sculpture and wondered if art imitates life or vice versa or even plant themselves curious a I cannot say enough good about this book. Think of sitting downwardly with a learned only accessible expert, someone who is both eloquent and downward-to-world. That feeling, and the knowledge shared, is this book. EH Gombrich must accept been an amazing and mesmerizing lecturer. I am now seeking his other classic, The Story of Art. This book is for anyone, creative person or not, who has always contemplated a cracking painting or sculpture and wondered if fine art imitates life or vice versa or fifty-fifty establish themselves curious equally to the coercion man has to create art.
A favorite quote (p. 310), "That ability of holding on to an epitome that Ruskin describes so admirably is not the ability of the eidetic; it is that kinesthesia of keeping a large number of relationships present in i's heed that distinguishes all mental achievement, be it that of the chess player, the composer, or the great creative person."
As low fundamental and "all hail, well met" as information technology is, this book is hard. It requires attention and idea, and information technology pulls from every category of learning: history, anthropology, scientific discipline, math, language, fifty-fifty politics. Well worth the endeavor. ...more than

Apr 30, 2018 L rated information technology actually liked it

East H Gombrich on Art and illusion

This book could be divers as art criticism. It explores why there is such a thing as way and what Gombrich believes to exist the extraordinarily complex riddle of way. It too explores the history and psychology of pictorial representation. In this book, i looks at the fake of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression. It covers theoretical issues too as using scien

E H Gombrich on Art and illusion

This book could be defined as art criticism. It explores why there is such a matter as style and what Gombrich believes to be the extraordinarily complex riddle of style. It as well explores the history and psychology of pictorial representation. In this book, 1 looks at the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression. It covers theoretical issues as well every bit using science to find answers.

In this book yous will also observe the limits of likeness, function and form, invention and discovery. It goes into depth most a field of inquiry that extends beyond the frontiers of art to the study of perception and optical illusion. Looking at mysterious ways in which shapes and marks can exist fabricated to suggest and signify other things. The difference between 'knowing' and 'seeing', which I would hasten to add that one should refer to Berger'south 'ways of seeing'.
This volume looks at the visible world and the language of art in relation to it.

"Fine art being a thing of the mind, information technology follows that any scientific report of art will be psychology" –Max J Friedländer, Von Kunst Und Kennerschaft

In this book i considers the question of what subjective imitations of nature tells us of truth. Information technology looks at introspection, and how this relates to ane'south imagination, interpretation, fashion and uniqueness. Art moves past innovation of technique rather than increment in 'realism', and this book explores what 'tools' the tradition enables the artist –in society to encounter changes.

Gombrich's riddle of fashion is a common topic at academy study for artists and writers alike, then I would highly recommend reading this enlightening book.

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Jan 03, 2017 Jimmy Ele rated it really liked it

An erudite journeying through the history of artistic representation. The focus is on how artists have perceived the world and how they accept strode to embody their perceptions. Securely philosophical when elaborating on the illusory nature of art. It argues that the representation of the artist of the earth will never friction match the infinite corporeality of information actually reaching the artist. It touches on many subjects and time periods ranging from the art of Ancient Egypt to the Renaissance to Escher an An erudite journeying through the history of creative representation. The focus is on how artists have perceived the globe and how they have strode to embody their perceptions. Deeply philosophical when elaborating on the illusory nature of art. It argues that the representation of the artist of the globe will never match the infinite amount of information actually reaching the artist. It touches on many subjects and fourth dimension periods ranging from the art of Ancient Egypt to the Renaissance to Escher and Severini. I highly recommend it for students of perception and illusion and the psychology behind fine art and how humans "encounter" the world. ...more

Jul 31, 2015 Mogg Morgan rated it it was amazing

On every thinking person's bookshelf, or should be On every thinking person'due south bookshelf, or should exist ...more

"For Reynolds, Gainsborough'south frequently unfinished and rather vague indications are little more than those schemata which serve every bit a back up for our retentivity images; in other words, they are screens onto which the sitter's relatives and friends could project a dear image, but which remain bare to those who cannot contribute from their own feel. The role which projection plays, and is intended to play, in works of this kind could not exist brought out more sharply.

As a matter of fact by th

"For Reynolds, Gainsborough'due south frequently unfinished and rather vague indications are little more those schemata which serve as a support for our memory images; in other words, they are screens onto which the sitter's relatives and friends could project a beloved paradigm, merely which remain blank to those who cannot contribute from their own experience. The role which projection plays, and is intended to play, in works of this kind could non be brought out more than sharply.

Every bit a affair of fact by the time Reynolds wrote, the pleasure in this game of reading brushstrokes had go so popular that J. East. Liotard wrote his treatise on painting mainly to combat the prejudice according to which 'all good painting must exist facile, freely painted and with fine touches.' He is prepared to admit that such a painting volition look better from afar, merely better, he thinks, is in this example simply 'less ugly.' To read his polemics against the loaded brush, written as it was in 1781, 1 wonders why the technique of the impressionists struck the public as such a daring innovation.

But impressionism demanded more than than a reading of brushstrokes. It demanded, if one may and so put information technology, a reading across brushstrokes. At that place were a good many painters among the fashionable virtuosos of the nineteenth century, men similar Boldini and Sargent, who drew more or less with a loaded brush and fabricated the game of projecting sufficiently easy to be attractive. Amid the slap-up masters, Daumier'due south technique is of this kind [29], the brush following the course firmly and boldly. Information technology is the betoken of
impressionist painting that the direction of the brushstroke is no longer an assist to the reading of forms. It is without whatever support from structure that the beholder must mobilize his memory of the visible world and projection it into the mosaic of strokes and dabs on the canvas earlier him. It is here, therefore, that the principle of guided project reaches its climax. The paradigm, it might be said, has no firm anchorage left on the canvas [25] -it is only 'conjured up' in our minds. The willing beholder
responds to the creative person's suggestion considering he enjoys the transformation that occurs in forepart of his eyes. Information technology was in this enjoyment that a new function of art emerged gradually and all merely unnoticed during the period we take discussed. The artist gives the beholder increasingly 'more than to
do,' he draws him into the magic circle of cosmos and allows him to experience something of the thrill of "making" which had once been the privilege of the artist. It is the turning indicate which leads to those visual conundrums of twentieth-century art that challenge our ingenuity and make us search our ain minds for the unexpressed and inarticulate.

It may seem paradoxical to link impressionism with this appeal to subjectivity, for the advocates of impressionism talked otherwise. Impressionism was to them the triumph of objective truth. The implications of this merits volition engage our attention in a subsequent chapter."

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Dec 19, 2021 Jack rated it did non similar it

This book is hard to take seriously as a piece of work of art philosophy or scholarly piece of work. It shows a deep misunderstanding of child cognitive development, information technology homogenizes thousands of years of human history, and completely fails to provide any context of fine art which is not squarely centered on the European. The useful information in this text is inextricably spring to the myopic views of the author.

I am enormously disappointed that this book comes so highly rated and I desperately hope that more seri

This book is difficult to accept seriously as a work of art philosophy or scholarly piece of work. It shows a deep misunderstanding of kid cerebral evolution, it homogenizes thousands of years of human history, and completely fails to provide any context of fine art which is non squarely centered on the European. The useful data in this text is inextricably bound to the myopic views of the author.

I am enormously disappointed that this volume comes and so highly rated and I badly hope that more serious students of psychology *and* more than volition rounded fine art historians tin can make something better in the virtually future.

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Jul 10, 2021 Charles rated information technology really liked information technology

This review has been hidden because it contains spoilers. To view it, click here. This was a study book for my Art Caste course. Useful and interesting but quite heavy going thus I've non read through every page; it's one of those useful reference books that is handy to keep on your bookshelf to dip into when you need to reference something. I as well have his more than well known "The Story of Art" (another useful volume to keep on the shelf). This was a study volume for my Art Degree course. Useful and interesting but quite heavy going thus I've non read through every page; information technology's ane of those useful reference books that is handy to go on on your bookshelf to dip into when you need to reference something. I as well have his more well known "The Story of Art" (another useful volume to keep on the shelf). ...more than

Profound humanitarian piece of work on painted art. Wordy, repeating, urges to dig out the meaning. In a way like classical German philosophy. I personally cannot say I enjoyed information technology, although no dubiousness it is a must read for people talking about art and painting.

Sep 14, 2017 R.A. Bentinck rated it it was amazing

This text gave me a solid foundation in understanding the psychology of art

Feb 28, 2019 John rated information technology liked it

Scrap long-winded and I'chiliad not certain if it was too groundbreaking or enlightening
Only as far as I know it'southward pretty correct

Liked the $.25 on perspective/illusions and the math backside drawing 3d into 2d

Bit long-winded and I'm not sure if it was likewise groundbreaking or enlightening
But as far as I know information technology's pretty correct

Liked the bits on perspective/illusions and the math behind drawing 3d into 2nd

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essential reading for any production designer, painter, photographer, and museum cats

Gombrich's A.Due west. Mellon lectures. Some of his nearly interesting work on class and psychologically-motivated art that the Warburg Constitute trained him for. Gombrich's A.W. Mellon lectures. Some of his most interesting work on grade and psychologically-motivated art that the Warburg Institute trained him for. ...more than

Feb 17, 2021 Evelyn rated it actually liked it

Fascinating explanation of the way art has evolved from the times of Ancient Egyptians to today complete with many illustrations.

Nov 23, 2015 Ietrio rated it did not like it

Gombrich is certainly an erudite. But he is non a very intelligent man. He is trying difficult to exercise what he was educated to do and nothing more. Memory yes, reason no.

It is funny how the poor man knows for sure how things were some two millennia before his parents began a sex life. That was how things were taught to him, that is the way it is, no dubiousness well-nigh it.

The reasoning of this book is how to bring "the classics" and translate them into "a contemporan" central? Of course, his rudimentary intelle

Gombrich is certainly an erudite. But he is not a very intelligent man. He is trying difficult to practise what he was educated to do and nothing more. Memory yes, reason no.

It is funny how the poor man knows for sure how things were some ii millennia before his parents began a sexual activity life. That was how things were taught to him, that is the style information technology is, no doubt about it.

The reasoning of this volume is how to bring "the classics" and translate them into "a contemporan" key? Of course, his rudimentary intellect believes the ancient were as perfect as a human tin exist in the failible condition of a less than god beingness.

I found interesting Gombrich's wonder why the Egyptians were drawing like that and non realist. But rehashing his school days rote learning leads to nowhere. He shows no sign of understanding that only some works were preserved. And the option process was two fold. First only some works were kept well by the Egyptians. Second only some works have endured some ane thousand years burried somewhere. The materials were quite fragile. And than there is religion. Even the seemingly daily life representations are seeped into religious dogma.

After the introduction the writer does some mental gymnastics to serve his preset goal.

Page 12. Pliny was a savage past our standards. Zero understanding of anatomy. Zero agreement of how the body works. He writes about "the mind" in the sense of Reason - the abstraction which set the Man (and not the woman) apart from Beast in the days earlier the christian invention of the separate days of creation argument. Gombrich takes that and conveniently uses "the mind" as "the brain" thus modernistic medicine supports the mumblings of the enlightened savage. Of form, the grasp of science by Gombrich is a mere scientism, but who cares? He is a man of art. For him psychology does not mean a science that can assistance people understand why humans go to war. For him psychology is in the virtually vulgare of senses meaning a mystic fuzzy concept that justifies his schoolhouse master to be right and aestetics and his plumber an ignorant.

Folio xiii continues the pseudo reasoning forth the aforementioned lines. Fine art has adult in the 19th century because useless aristocrats wrote almost aestetics, not because the industrial development.

Pages 58-59 bear witness his willingness to cheat whatsoever way to evidence his dubious points. At that place you have perspective corrected works of art adjacent to execrable photos.

Bla bla bla

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Sep 11, 2013 Adriano Bulla rated it it was amazing

Professor Gombrich's lesser known 'Art and Illusion' is, in my opinion, as seminal as his 'The Story of Art'; unlike its bigger sis, this text focusses on how perception of the physical world has been influenced, over the centuries, though I would say it zooms in on the terminal millennium of our civilisation, by our metaphysical understanding of being. In this respect, it is academically more praiseworthy if less encyclopaedic than 'The Story'. From how a Medieval heed perceived a rhinoceros Professor Gombrich's lesser known 'Art and Illusion' is, in my opinion, as seminal every bit his 'The Story of Art'; unlike its bigger sister, this text focusses on how perception of the physical earth has been influenced, over the centuries, though I would say information technology zooms in on the last millennium of our culture, past our metaphysical agreement of existence. In this respect, it is academically more praiseworthy if less encyclopaedic than 'The Story'. From how a Medieval listen perceived a rhinoceros or a grasshopper to the influence of Claude'south written report of clouds on Western Art, this study is a real eye-opener, and a must-read for anyone with an interest in the discipline, that is, if ane tin find it and beget it; I had to get my copy shipped in from the USA at the non-so-friendly toll of about £50 in the 1980s, but those were the times earlier globalisation, when our mindset set up us on quests for rare treasures from lands afar, I wonder how the Fine art Professor par excellence would read the earth of instant availability'southward effects on our aesthetic sensibility. ...more

p. 90 "linguistic communication does non give name to pre-existing things or concepts and then much as it articulates the earth of our experience. The images of art, nosotros doubtable, do the aforementioned. But this departure in styles or languages need non stand in the mode of correct answers and descriptions. The globe may exist approached from a different bending and the data given may nevertheless be the same."

p. 359 "The history of art, every bit we take interpreted information technology so far, may exist described equally the forging of master keys for opening the my

p. 90 "language does not give name to pre-existing things or concepts so much every bit it articulates the world of our experience. The images of fine art, nosotros doubtable, practice the aforementioned. But this difference in styles or languages need not stand up in the way of right answers and descriptions. The world may be approached from a different angle and the data given may nevertheless be the same."

p. 359 "The history of art, as we have interpreted information technology and so far, may be described as the forging of main keys for opening the mysterious locks of our senses to which only nature herself originally held the cardinal."

need to re-read

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Mar 29, 2012 Nepo rated it it was amazing

A nice and sincere attempt, only Gombrich does not quite solve the issue he raises. Okay, he attacks and succeeds in relativizing (naive) realism. Styles and tactics of representation change from one period to another. Sure. Simply the real question is why a given organization of representation changes to another--and this mechanism of switching is something I assume Gombrich himself recognized, struggled, but could not clear well. At least not here. That is why this book fails in the end to business relationship A nice and sincere attempt, but Gombrich does not quite solve the issue he raises. Okay, he attacks and succeeds in relativizing (naive) realism. Styles and tactics of representation change from one menstruation to another. Certain. Only the real question is why a given arrangement of representation changes to another--and this mechanism of switching is something I assume Gombrich himself recognized, struggled, just could not articulate well. At least not here. That is why this book fails in the terminate to account for history. ...more than

Dec 23, 2009 Erik Graff rated it liked it  · review of another edition

Recommends information technology for: Gombrich fans

Recommended to Erik by: Janny Marie Willis

This was one of many books left behind when my girlfriend/roommate in Matrimony Theological Seminary moved out. She had been a educatee at Barnard Higher and I imagine this was 1 of their texts. Probable, information technology constituted my introduction to theories of visual perception and may have been read in conjunction with Neale's course in psychology. This was one of many books left backside when my girlfriend/roommate in Union Theological Seminary moved out. She had been a student at Barnard College and I imagine this was i of their texts. Likely, information technology constituted my introduction to theories of visual perception and may accept been read in conjunction with Neale'southward course in psychology. ...more

'Gombrich the debunker'... He's sometimes engaging and insightful, only he focuses far likewise much on debunking other philosophers and thinkers... He seems to think himself infallible, yet he's quite often clearly wrong or dismissive of valid ideas... His recent book on primitivism was also similarly empty.. 'Gombrich the debunker'... He's sometimes engaging and insightful, but he focuses far also much on debunking other philosophers and thinkers... He seems to think himself infallible, yet he'southward quite often conspicuously wrong or dismissive of valid ideas... His contempo book on primitivism was also similarly empty.. ...more than

I was instructed to read this when struggling with visual perception in my psychology caste. It illuminated visual perception just information technology went on to do so much more - gave me a much deeper understanding of art.

Nov 22, 2008 John rated information technology information technology was amazing

The most amazing art book always. Gombrich is a brilliant man and every artist should read it, specially those working with representational imagery.

Non Gombrich at his finest, some heady bits of writing, but as a whole he'due south a bit unclear most the whole thing. Non Gombrich at his finest, some heady bits of writing, merely as a whole he's a scrap unclear about the whole matter. ...more

Sir Ernst Hans Josef Gombrich, OM, CBE (30 March 1909 – 3 November 2001) was an Austrian-born art historian, who spent about of his working life in the Uk.

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