68 found
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  1.  16
    Art and Illusion.E. H. Gombrich - 1960 - Phaidon.
  2.  39
    Illusion in Nature and Art.R. L. Gregory & E. H. Gombrich - 1975 - Journal of Aesthetics and Art Criticism 34 (2):213-215.
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  3. Art, perception and reality.E. H. Gombrich, J. Hochberg & Black - 1975 - Revue Philosophique de la France Et de l'Etranger 165 (4):487-488.
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  4.  15
    The Story of Art.E. H. Gombrich - 1951 - Journal of Aesthetics and Art Criticism 9 (4):339-340.
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  5. Moment and Movement in Art.E. H. Gombrich - 1964 - Journal of the Warburg and Courtauld Institutes 27:293-306.
  6.  39
    Concerning 'The Science of Art': Commentary on Ramachandran and Hirstein.E. H. Gombrich - 2000 - Journal of Consciousness Studies 7 (8-9):8-9.
    To the historian of art, it is evident that the two authors’ notion of ‘art’ is of very recent date, and not shared by everybody. They claim: ‘The purpose of art, surely, is not merely to depict or represent reality -- for that can be accomplished very easily with a camera -- but to enhance, transcend, or even to distort reality’ . They do not explain how one could photograph Paradise or Hell, the Creation of the World, the Passion of (...)
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  7. Botticelli's Mythologies: A Study in the Neoplatonic Symbolism of His Circle.E. H. Gombrich - 1945 - Journal of the Warburg and Courtauld Institutes 8:7-60.
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  8. The Preference for the Primitive Episodes in the History of Western Taste and Art.E. H. Gombrich - 2002
     
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  9. Archaeologists or Pharisees? Reflections on a Painting by Maarten Van Heemskerck.E. H. Gombrich - 1991 - Journal of the Warburg and Courtauld Institutes 54:253-256.
  10.  34
    The Sense of Order.E. H. Gombrich - 1980 - Journal of Philosophy 77 (3):179-181.
  11. Icones Symbolicae: The Visual Image in Neo-Platonic Thought.E. H. Gombrich - 1948 - Journal of the Warburg and Courtauld Institutes 11:163-192.
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  12. Additional Thoughts on Perspective.E. H. Gombrich - 1993 - Journal of Aesthetics and Art Criticism 51 (1):69.
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  13.  35
    Shadows and EnlightenmentShadows: The Depiction of Cast Shadows in Western Art.David Carrier, Michael Baxandall & E. H. Gombrich - 1996 - Journal of Aesthetics and Art Criticism 54 (2):200.
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  14. An Early Seventeenth-Century Canon of Artistic Excellence: Pierleone Casella's Elogia Illustrium Artificum of 1606.E. H. Gombrich - 1987 - Journal of the Warburg and Courtauld Institutes 50:224-232.
  15.  18
    In Search of Cultural History.Leonard B. Meyer & E. H. Gombrich - 1970 - History and Theory 9 (3):397.
  16. Truth and Stereotype: An Illusion Theory of Representation.E. H. Gombrich - 1992 - In Philip Alperson (ed.), The Philosophy of the Visual Arts. Oxford University Press. pp. 72--87.
     
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  17. Bosch's "Garden of Earthly Delights": A Progress Report.E. H. Gombrich - 1969 - Journal of the Warburg and Courtauld Institutes 32:162-170.
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  18.  20
    "They Were All Human Beings: So Much Is Plain": Reflections on Cultural Relativism in the Humanities.E. H. Gombrich - 1987 - Critical Inquiry 13 (4):686-699.
    In the fourth section of Goethe’s Zahme Xenien we find the quatrain from which I have taken the theme of such an old and new controversy, which, as I hope, concerns both Germanic studies and the other humanities: “What was it that kept you from us so apart?” I always read Plutarch again and again. “And what was the lesson he did impart?” “They were all human beings—so much is plain.”1 In the very years when Goethe wrote these lines, that (...)
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  19. Blurred Images and the Unvarnished Truth.E. H. Gombrich - 1962 - British Journal of Aesthetics 2 (2):170-179.
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  20. In Search of Cultural History.E. H. Gombrich - 1969 - Phaidon.
     
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  21.  30
    Art, Perception, and Reality. [REVIEW]A. F. W., J. Hochberg & E. H. Gombrich - 1973 - Review of Metaphysics 26 (3):525-526.
    This book contains three essays: "The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art" by Gombrich, the renowned art historian and critic; "The Representation of Things and People" by psychologist, Julian Hochberg; and "How Do Pictures Represent" by philosopher, Max Black. The book is based upon lectures delivered in the Johns Hopkins 1970 Thalheimer Lectures, where, taking off from the question "how there can be an underlying identity in the manifold and changing facial expression of (...)
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  22.  96
    The Earliest Description of Bosch's Garden of Delight.E. H. Gombrich - 1967 - Journal of the Warburg and Courtauld Institutes 30:403-406.
  23.  32
    The Museum: Past, Present and Future.E. H. Gombrich - 1977 - Critical Inquiry 3 (3):449-470.
    I hope you will agree, however, that the purpose of the museum should ultimately be to teach the difference between pencils and works of art. What I have called the shrine was set up and visited by people who thought that they knew this difference. You approached the exhibits with an almost religious awe, an awe which certainly was sometimes misplaced but which secured concentration. Our egalitarian age wants to take the awe out of the museum. It should be a (...)
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  24. Meditations on a Hobby Horse, or, the Roots of Artistic Form.E. H. Gombrich - 1973
     
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  25.  34
    Caricature.E. H. Gombrich & E. Kris - 1942 - Journal of Aesthetics and Art Criticism 2 (6):76-77.
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  26.  70
    Evolution in the Arts.E. H. Gombrich - 1964 - British Journal of Aesthetics 4 (3):263-270.
  27.  58
    Renaissance and Golden Age.E. H. Gombrich - 1961 - Journal of the Warburg and Courtauld Institutes 24 (3/4):306-309.
  28.  69
    An Interpretation of Mantegna's 'Parnassus'.E. H. Gombrich - 1963 - Journal of the Warburg and Courtauld Institutes 26 (1/2):196-198.
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  29.  66
    The Repentance of Judas in Piero Della Francesca's 'Flagellation of Christ'.E. H. Gombrich - 1959 - Journal of the Warburg and Courtauld Institutes 22 (1/2):172.
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  30. Art History and the Social Sciences.E. H. Gombrich - 1975
  31.  23
    Standards of Truth: The Arrested Image and the Moving Eye.E. H. Gombrich - 1980 - Critical Inquiry 7 (2):237-273.
    I have stressed here and elsewhere that perspective cannot and need not claim to represent the world "as we see it." The perceptual constancies which make us underrate the degree of objective diminutions with distance, it turns out, constitute only one of the factors refuting this claim. The selectivity of vision can now be seen to be another. There are many ways of "seeing the world," but obviously the claim would have to relate to the "snapshot vision" of the stationary (...)
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  32. Gombrich on Art and Psychology.E. H. Gombrich & Richard Woodfield - 1996
     
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  33.  20
    Representation and Misrepresentation.E. H. Gombrich - 1984 - Critical Inquiry 11 (2):195.
    It is a thankless task to have to reply to Professor Murray Krieger’s “Retrospective.” Qui s’excuse, s’accuse, and since I cannot ask my readers to embark on their own retrospective of my writings and test them for consistency, I have little chance of restoring my reputation in their eyes. Hence I would have been happier to leave Professor Krieger to his agonizing, if he did not present himself the “spokesman” for a significant body of theorists who appear to have acclaimed (...)
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  34.  55
    Aby Warburg: His Aims and Methods: An Anniversary Lecture.E. H. Gombrich - 1999 - Journal of the Warburg and Courtauld Institutes 62:268-282.
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  35.  55
    Apollonio di Giovanni: A Florentine Cassone Workshop Seen Through the Eyes of a Humanist Poet.E. H. Gombrich - 1955 - Journal of the Warburg and Courtauld Institutes 18 (1/2):16-34.
  36.  54
    Così Fan Tutte (Procris Included).E. H. Gombrich - 1954 - Journal of the Warburg and Courtauld Institutes 17 (3/4):372-374.
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  37.  50
    The Sala Dei Venti in the Palazzo Del Te.E. H. Gombrich - 1950 - Journal of the Warburg and Courtauld Institutes 13 (3/4):189-201.
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  38.  26
    Canons and Values in the Visual Arts: A Correspondence.E. H. Gombrich & Quentin Bell - 1976 - Critical Inquiry 2 (3):395-410.
    [E.H. Gombrich wrote on May 13, 1975:] . . . I recently was invited to talk about "Art" at the Institution for Education of our University. There was a well-intentioned teacher there who put forward the view that we had no right whatever to influence the likes and dislikes of our pupils because every generation had a different outlook and we could not possibly tell what theirs would be. It is the same extreme relativism, which has invaded our art schools (...)
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  39. Personal Recollections of the Publication of the Open Society.E. H. Gombrich - 1999 - In I. C. Jarvie & Sandra Pralong (eds.), Popper's Open Society After Fifty Years: The Continuing Relevance of Karl Popper. Routledge.
  40.  36
    Vasari's Lives and Cicero's Brutus.E. H. Gombrich - 1960 - Journal of the Warburg and Courtauld Institutes 23 (3/4):309-311.
  41.  33
    A Classical Topos in the Introduction to Alberti's Della Pittura.E. H. Gombrich - 1957 - Journal of the Warburg and Courtauld Institutes 20 (1/2):173.
  42.  7
    Art as Image and IdeaThe Story of Art.Ernest Mundt, Edmund Burke Feldman & E. H. Gombrich - 1968 - Journal of Aesthetic Education 2 (4):142.
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  43.  26
    Beroaldus on Francia.Michael Baxandall & E. H. Gombrich - 1962 - Journal of the Warburg and Courtauld Institutes 25 (1/2):113-115.
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  44.  23
    A Classical 'Rake's Progress'.E. H. Gombrich - 1952 - Journal of the Warburg and Courtauld Institutes 15 (3/4):254-256.
  45. Art and Scholarship.E. H. Gombrich - 1957
     
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  46.  15
    Symposium: Art and the Language of the Emotions.E. H. Gombrich & Ruth Saw - 1962 - Aristotelian Society Supplementary Volume 36:215 - 246.
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  47.  16
    The Debate on Primitivism in Ancient Rhetoric.E. H. Gombrich - 1966 - Journal of the Warburg and Courtauld Institutes 29:24-38.
  48.  7
    Reviews. [REVIEW]E. H. Gombrich - 1954 - British Journal for the Philosophy of Science 5 (18):168-169.
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  49.  5
    Topics of Our Time: Comments on Twentieth-Century Issues in Learning and in Art.E. H. Gombrich - 1994 - Journal of Aesthetics and Art Criticism 52 (2):247-249.
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  50.  4
    Art and the Language of the Emotions.E. H. Gombrich & Ruth Saw - 1962 - Aristotelian Society Supplementary Volume 36 (1):215-246.
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