110 found
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  1.  15
    Art and Illusion.E. H. Gombrich - 1960 - Phaidon.
  2.  46
    Art and Illusion. A Study in the Psychology of Pictorial Representation.E. H. Gombrich - 1960 - Journal of Aesthetics and Art Criticism 19 (2):229-229.
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  3.  15
    Buddhism Transformed: Religious Change in Sri Lanka.Richard Gombrich & Gananath Obeyesekere - 1992 - Philosophy East and West 42 (2):375-378.
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  4.  36
    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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  5.  21
    Art, Perception, and Reality.E. H. Gombrich, Julian Hochberg & Max Black - 1974 - Philosophy and Phenomenological Research 34 (3):450-451.
  6.  18
    Art and Illusion: A Study in the Psychology of Pictorial Representation. [REVIEW]Martin Robertson & E. H. Gombrich - 1963 - Journal of Hellenic Studies 83 (18):207-208.
  7.  13
    Theravada Buddhism: A Social History From Ancient Benares to Modern Colombo.Richard F. Gombrich - 1990 - Philosophy East and West 40 (2):251-253.
  8.  15
    The Story of Art.E. H. Gombrich - 1951 - Journal of Aesthetics and Art Criticism 9 (4):339-340.
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  9.  12
    Art and Illusion; a Study in the Psychology of Pictorial Representation.E. H. Gombrich - 1960 - Journal of Philosophy 57 (18):595-599.
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  10.  40
    The Sense of Order: A Study in the Psychology of Decorative Art.E. H. Gombrich - 1980 - Journal of Aesthetics and Art Criticism 38 (4):453-457.
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  11. Moment and Movement in Art.E. H. Gombrich - 1964 - Journal of the Warburg and Courtauld Institutes 27:293-306.
  12.  37
    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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  13.  84
    The Image and the Eye: Further Studies in the Psychology of Pictorial Representation.E. H. Gombrich - 1983 - Journal of Aesthetics and Art Criticism 42 (1):85-89.
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  14. British Higher Education Policy in the Last Twenty Years: The Murder of a Profession.Richard Gombrich - 2013 - Synthesis Philosophica 28 (1-2):7-29.
     
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  15. 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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  16.  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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  17.  16
    The Buddhist Revival in Sri Lanka: Religious Tradition, Reinterpretation and Response.Richard Gombrich & George D. Bond - 1989 - Journal of the American Oriental Society 109 (4):661.
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  18. 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.
  19. 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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  20. Additional Thoughts on Perspective.E. H. Gombrich - 1993 - Journal of Aesthetics and Art Criticism 51 (1):69.
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  21.  24
    The Sense of Order.E. H. Gombrich - 1980 - Journal of Philosophy 77 (3):179-181.
  22.  9
    The Sense of Order: A Study in the Psychology of Decorative Art.Francis Sparshott & E. H. Gombrich - 1981 - Journal of Aesthetic Education 15 (1):126.
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  23. 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.
  24. The Preference for the Primitive Episodes in the History of Western Taste and Art.E. H. Gombrich - 2002
     
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  25. The Evidence of Images.Ernst H. Gombrich - 1969 - In Charles Southward Singleton (ed.), Interpretation: Theory and Practice. Baltimore: Johns Hopkins University Press. pp. 35--104.
     
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  26.  18
    In Search of Cultural History.Leonard B. Meyer & E. H. Gombrich - 1970 - History and Theory 9 (3):397.
  27.  9
    The Image and the Eye: Further Studies in the Psychology of Pictorial Representation.Ronald N. MacGregor & Ernst H. Gombrich - 1985 - Journal of Aesthetic Education 19 (4):118.
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  28. Why Has British Education Gone So Wrong, and Why Can’T We Stop the Rot?: Popper’s Nightmare.Richard Gombrich - 2013 - Synthesis Philosophica 28 (1-2):31-37.
     
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  29. 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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  30. 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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  31.  8
    Ambiguity and Ambivalence in Buddhist Treatment of the Dead.Richard Gombrich - 2018 - Buddhist Studies Review 35 (1-2):97-110.
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  32.  20
    The Vessantara Jātaka, the Rāmāyaṇa and the Dasaratha Jātaka.Richard Gombrich - 1985 - Journal of the American Oriental Society 105 (3):427.
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  33. Blurred Images and the Unvarnished Truth.E. H. Gombrich - 1962 - British Journal of Aesthetics 2 (2):170-179.
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  34.  29
    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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  35. Meditations on a Hobby Horse, or, the Roots of Artistic Form.E. H. Gombrich - 1973
     
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  36.  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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  37.  94
    The Earliest Description of Bosch's Garden of Delight.E. H. Gombrich - 1967 - Journal of the Warburg and Courtauld Institutes 30:403-406.
  38.  11
    Christianity as Model and Analogue in the Formation of the ‘Humanistic’ Buddhism of Tài Xū and Hsīng Yún.Yu-Shuang Yao & Richard Gombrich - 2018 - Buddhist Studies Review 34 (2):205-237.
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  39.  15
    "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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  40.  34
    Caricature.E. H. Gombrich & E. Kris - 1942 - Journal of Aesthetics and Art Criticism 2 (6):76-77.
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  41.  70
    Evolution in the Arts.E. H. Gombrich - 1964 - British Journal of Aesthetics 4 (3):263-270.
  42.  55
    Renaissance and Golden Age.E. H. Gombrich - 1961 - Journal of the Warburg and Courtauld Institutes 24 (3/4):306-309.
  43.  12
    Interview: Ernst Gombrich.Ernst Gombrich, Hayden White, Allen W. Wood, Theodore M. Brown, David I. Grossvogel & Robert Matthews - 1971 - Diacritics 1 (2):47.
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  44.  14
    A Visit to Brahmā the Heron.Richard Gombrich - 2001 - Journal of Indian Philosophy 29 (1/2):95-108.
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  45. Gombrich on Art and Psychology.E. H. Gombrich & Richard Woodfield - 1996
     
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  46.  66
    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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  47.  63
    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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  48.  21
    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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  49.  18
    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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  50.  60
    Hypnerotomachiana.E. H. Gombrich - 1951 - Journal of the Warburg and Courtauld Institutes 14 (1/2):119-125.
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