Art and Illusion: a study in the psychology of pictorial by E. H. Gombrich
By E. H. Gombrich
Considered an excellent vintage through all who search for a gathering floor among technological know-how and the arts, Art and Illusion examines the historical past and psychology of pictorial illustration in mild of present-day theories of visible conception info and studying. looking for a rational clarification of the altering types of paintings, Gombrich reexamines many principles at the imitation of nature and the functionality of culture. In trying out his arguments he levels over the heritage of paintings, noticing fairly the accomplishments of the traditional Greeks, and the visible discoveries of such masters as Leonardo da Vinci and Rembrandt, in addition to the impressionists and the cubists. Gombrich's triumph in artwork and phantasm arises from the truth that his major main issue is much less with the artists than with ourselves, the beholders.
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Extra info for Art and Illusion: a study in the psychology of pictorial representation
Thus what looks like progress from the point of view of the mastery of a medium can also be viewed as decline into empty virtuosity. Polemics between the various schools of rhetoric make ample use of such moral arguments. Asiatic bombast is decried as a sign of moral decay, and the return to a pure Attic vocabulary is hailed as a moral victory. There exists an essay by Seneca in which the corruption of style at the hands of Maecenas is mercilessly analysed as a manifestation of a corrupt society in which affectation and obscurity count for more than straightforward lucidity.
One of these facts is a certain kinship between child art and primitive art that had suggested to the unwary the false alternatives that either these primitives could not do better because they were as unskilled as children or that they did not want to do anything else because they still had the mentality of children. Both these conclusions are obviously false. They are due to he tacit assumption that what is easy for us must always have been easy. It seems to me one of the permanent gains of the first contacts between art history and the psychology of perception that we need no longer believe this.
Historians have investigated the hold which the formula has over the chronicler who means to record recent events g students of literature, such as Ernst Robert Curtius, have demonstrated the role of the ‘topos’, the traditional commonplace, in the warp and Woof of poetry. The time seems ripe to approach the problem of style once more, fortified by this knowledge of the force of traditions. I realize that this insistence on the tenacity of conventions, on the role of types and stereotypes in art, will be met with scepticism by those who have not worked in this field.