Abstract

Xenocrates of Athens was a sculptor and theoretician of the 3rd cen. B.C., whose now lost writings were used as basic sources by Pliny the Elder in his 34th and 35th Books of Natural History, about Sculpture and Painting respectively. It is strongly believed that the progressive model of the development of art in both books has Xenocratian origins: influenced by the tradition of Democritus, Xenocrates had explained the evolution of art as a process of resolution of artistic problems. His narrative was, though, a descriptive one without a theoretical or philosophical background. A similar case had prevailed in the Historiography of Art for many centuries, up to the beginnings of the 20th cen., when the rise of Philosophical Hermeneutics changed the picture. Art Historians began to create theories and methods trying for the first time to explain at a theoretical level the phenomena both of the development of art and of the capability of later perceivers to understand previous artworks and their changes through time. Ernst Gombrich’s theory that combines modern and postmodern ideas is to be understood as influenced both by the Xenocratian idea that there is always an innovative person who first overcomes traditional methods triggering the progress of art’s development and by the Popperian notion of “trial and error” as the main schema for the development of science.