Arte, percepción y realidad by E. H. Gombrich

By E. H. Gombrich

Tres enfoques distintos confluyen en este libro: historia y psicología del arte (Sir Ernst Gombrich), psicología (Julian Hochberg) y filosofía (Max Black). Estos tres distinguidos autores examinan en los tres ensayos recogidos en este volumen el problema de las percepciones de las imágenes y, en specific, de los angeles pintura y los angeles fotografía. Tal confrontación de rules es ciertamente inédita en los angeles bibliografía en lengua castellana sobre los angeles imagen. Fundándose en experiencias sustancialmente diferentes, los tres ensayos solicitan los angeles reflexión y los angeles profundización de temas ya de por sí sugerentes: el tiempo, l. a. verosimilitud, l. a. escena espacial y otros conceptos, como los de empatía, capacidad de información de l. a. imagen y niveles de atención. De un modo specific, el intercambio de opiniones entre Gombrich y Hochberg abre un debate rico en consecuencias de permanente interés entre especialistas. Al mismo tiempo, las constantes referencias al plano cognitivo de los angeles imagen abren nuevas posibilidades para los angeles investigación de l. a. imagen a partir de l. a. pragmática moderna.

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Notes Abbreviations: SL = John Ruskin, The Seven Lamps of Architecture; NG = John Ruskin, The Nature of Gothic; references are from The Complete Works of John Ruskin, Library Edition, eds E. T. Cook and Alexander Wedderburn, 39 vols (London: George Allen, 1903–12). AE = Wilhelm Worringer, Abstraction and Empathy (1907), trans. Michael Bullock (New York: International University Press, 1953); FG = Wilhelm Worringer, Form in Gothic (1911), trans. Herbert Read (London: Putnam, 1927). 1 The Ethics of the Dust: 18: 246.

In the late 1860s and early 1870s, the most controversial topic for discussion was Max Müller’s influential philological theory of the sources of myth. Müller was an innovative and prolific scholar, who had two leading ideas on myth: that ancient myths derived from the worship of the sun, and that their earliest forms of expression had to do with the degeneration of language – that mythology was little more than a Ruskin, Myth and Modernism 37 dangerous disease of language, in fact. 10 The idea that myth was closely related to the development of language was attractive to Ruskin, though he had no time for Müller’s notion that it was simply an expression of the decay of language.

38 This is the same crystalline spirit that was venerated by primitive man, according to Worringer, since it offered a shelter against the chaos of organic life. 39 Ruskin’s enthusiasm for crystal forms, an enthusiasm which intensifies in the passage from the Seven Lamps to the Stones of Venice, 40 would become in the space of fifty years, due to the attention Worringer’s work focused upon it, absolutely central in expressionistic poetics. 4. 41 The conflict between organic and inorganic laws is overcome by the awareness of an essential original unity in natural lawfulness which proposes that organic regularity is different only in degree from the inorganic: ‘The primary element is not the natural model, but the law one abstracts from it .

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