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Journal articles on the topic 'E. Gombrich'

Author: Grafiati

Published: 5 June 2025

Last updated: 15 July 2025

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1

Cieszkowski, Krzysztof Z. "Heresy and the pleasures of the hunt." Art Libraries Journal 16, no. 01 (1991): 20–24. http://dx.doi.org/10.1017/s0307472200018927.

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This conversation between the distinguished art historian, Professor Sir Ernst Gombrich, and Krzysztof Z. Cieszkowski of the Tate Gallery Library, took place in Professor Gombrich’s home late in 1990. Professor Gombrich recalls making use of a number of libraries, and offers some thoughts — from an art historian’s point of view — on librarians, who, it is suggested, tend to make too much of professional skills at the expense of knowledge.

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2

Li, Ziyi. "The Inspiration of Gombrich’s Critical Discourse Innovation to Film Criticism——Take “The Great Road” as an Example." Learning & Education 10, no. 8 (2022): 94. http://dx.doi.org/10.18282/l-e.v10i8.3071.

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As a critic of the classic visual art of images, Gombrich has pioneering insights into some aspects of the discourse of image criticism. This is not only used in his art history and art direction, but also in films that are also visual culture. direction. This article utilizes Gombrich’s innovation of critical discourse, combined with some cognitive models and related concepts proposed by Gombrich to inspire traditional film criticism. Combining neo-realism films with the inner characteristics of characters in the external material world, taking Italian director Fellini’s “The Great Road” as an example, this paper attempts to clarify the impact of this critical discourse innovation on film criticism.

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3

Demchuk, Stefaniia. "E. H. Gombrich, "Reflections on teaching art history in art schools paper given, 4th January, 1966"." Text and Image: Essential Problems in Art History, no. 2 (2022): 6–17. http://dx.doi.org/10.17721/2519-4801.2022.2.01.

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The text is an authorized translation of Ernst Gombrich’s lecture first published in the Journal of Art Historiography (2022). The lecture explores the ways the history of art is and should be taught at art academies. It, too, reveals the prejudices towards history as a discipline and the shortcomings of traditional ways of teaching it. At the end, Gombrich summarises his own views on the subject and suggests possible options for teaching art history.

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4

Kozbelt, Aaron. "Psychological Implications of the History of Realistic Depiction: Ancient Greece, Renaissance Italy and CGI." Leonardo 39, no. 2 (2006): 139–44. http://dx.doi.org/10.1162/leon.2006.39.2.139.

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Art historian Ernst Gombrich argued that learning to create convincing realistic depictions is a difficult, incremental process requiring the invention of numerous specific techniques to solve its many problems. Gombrich's argument is elaborated here in a historical review of the evolution of realistic depiction in ancient Greek vase painting, Italian Renaissance painting and contemporary computer-generated imagery (CGI) in video games. The order in which many problems of realism were solved in the three trajectories is strikingly similar, suggesting a common psychological explanation.

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5

Pashentsev, Ivan Dmitrievich. "The contribution of E.H. Gombrich to the study of the primitivism." Философия и культура, no. 2 (February 2025): 61–75. https://doi.org/10.7256/2454-0757.2025.2.73366.

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The article is dedicated to the researches of the famous art historian of the XX century E.H. Gombrich (1909–2001) of such a phenomenon as primitivism. The subject of this work is the mentioned term in the works of this scholar. The purpose of the article is to present the evolution of Gombrich's views on the primitivism in the theory and history of European art throughout his scientific career: from the works of the 1950s to the latest monograph "Preference for the Primitive: episodes in the history of Western Taste and Art" written in 2002. The scientific novelty lies in the fact that there are no researches in Russian historiography that develop the problem of the "primitive" in E. Gombrich's theory of art, so the article is intended to correct this gap. To achieve this set goal, source studies, comparative-diachronic, hermeneutical methods are used. Based on this methodological basis, it became possible to analyze Gombrich's works and their context, compare texts from different periods of his scientific activity and interpret them. Using the methods described above, it was managed to trace the development of the researcher's views and establish certain chronological stages of the study of primitivism, as well as to show the connections of his works with the previous historiographical tradition. The most important conclusion of this article was to determine the significance of the scholar's monographs and articles in the study of the "primitive" in art: firstly, he virtually described the history of this cultural definition from its origins in European thought of ancient times to its flourish in the early-mid-20th century as a full-fledged artistic trend; secondly, Gombrich deduced an aesthetic and, simultaneously, a psychological explanation of the preference for "primitive" features in art throughout almost the entire European art history.

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6

Del Conde, Teresa. "Ernst H. Gombrich." Anales del Instituto de Investigaciones Estéticas 23, no. 79 (2012): 229. http://dx.doi.org/10.22201/iie.18703062e.2001.79.2085.

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7

Migašová, Jana. "Ernst Hans Gombrich: jeho koncepcia dejín umenia, metodologické východiská a príspevok k chápaniu moderného výtvarného umenia." ESPES. The Slovak Journal of Aesthetics 6, no. 1 (2017): 29–39. https://doi.org/10.5281/zenodo.6386948.

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The paper is the contribution approach to interpretations of Ernst Gombrich’s contribution to the understanding of modern fine art. The basis of the paper stems out from knowledge of domestic and foreign interpretations of Gombrich’s art history concept (Bako&scaron;, Mik&scaron;, Kesner, Hříbek, Elkins etc.). The main hypothesis of the paper is idea that Gombrich’s posthumously published work The Preference for the Primitive (2002) is, in spite of legitimate critiques on the part of contemporary art historians, not solely contribution to the primitivism phenomenon, but also to the understanding of modern art by its own historical perspective.

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8

Bordonaba, Laure. "Ernst Gombrich : expliquer l’ornement." Cahiers philosophiques N° 162, no. 3 (2021): 91–101. http://dx.doi.org/10.3917/caph1.162.0093.

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9

Gutiérrez Haces, Juana. "Gombrich, una mente lúcida." Anales del Instituto de Investigaciones Estéticas 23, no. 79 (2012): 219. http://dx.doi.org/10.22201/iie.18703062e.2001.79.2100.

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10

GOMBRICH, E. H. "GOMBRICH ON THE RENAISSANCE." Art Book 1, no. 2 (1994): 22. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00026.x.

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11

Gregory, Richard. "Ernst Gombrich Memorial Address." Perception 31, no. 4 (2002): 391–92. http://dx.doi.org/10.1068/p3104ed.

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12

Ellenius, Allan. "E.H. Gombrich - några minnen." Konsthistorisk Tidskrift/Journal of Art History 70, no. 4 (2001): 195–97. http://dx.doi.org/10.1080/002336001753721910.

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13

Maynard, Patrick. "‘Neuroaesthetics’, Gombrich, and Depiction." British Journal of Aesthetics 56, no. 2 (2016): 191–201. http://dx.doi.org/10.1093/aesthj/ayv015.

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14

Arnaldo Alcubilla, Francisco Javier. "La pregunta por la expresión en el estilo: Gombrich y Wölfflin." Anuario del Departamento de Historia y Teoría del Arte 4 (December 3, 1992): 341–50. http://dx.doi.org/10.15366/anuario1992.4.020.

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Como es sabido, la obra de Wölfflin es una importante referencia en la formación y en los escritos de Gombrich, a la vez que objeto de una crítica contundente por parte de éste. Gombrich abunda en el desarrollo autónomo de los problemas artísticos iniciado por Wölfflin, e incluso da explicación a algunas constantes del comportamiento formal postuladas por el autor de "Conceptos fundamentales". El punto de partida de ambos es la psicología de la percepción, sólo que esta ciencia se ha desarrollado extraordinariamente en nuestro siglo, y ha puesto en evidencia la necesidad de revisar, entre otras cosas, los criterios para la interpretación de los estilos artísticos que se derivaban de la psicología de la empatía del siglo XIX. La antropología biológica de Gombrich ha puesto las bases de una evaluación más adecuada de la relación estilo-expresión.

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15

Zhang, Rui. "Analysis of Gombrich's Art and Illusion." Frontiers in Sustainable Development 4, no. 8 (2024): 12–14. http://dx.doi.org/10.54691/5a8jkr30.

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The essence of painting is that the painter uses all available tools and means to present the things he can see on paper, and no painter can create a work out of thin air. Therefore, it is essential to study the works of predecessors before creation, so painting must be based on history. In Art and Illusion, Gombrich analyzes the development of art from the perspective of psychology for the first time, and puts forward the great influence of painter's psychology on creation. This paper is mainly based on the book "Art and Illusion", on the basis of comprehensive exposition of Gombrich's art history research, analysis of his art history research methods, to provide reference for relevant people.

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16

Gombrich, Ernst H. "Sobre la interpretación de la obra de arte. El qué, el porqué y el cómo." Ra. Revista de Arquitectura 5 (May 10, 2018): 13–20. http://dx.doi.org/10.15581/014.5.25944.

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El noviembre del 2001 fallecía en Londres Ernst Gombrich (1909–2001); pocos días antes le habíamos enviado el presente artículo para su aprobación. Su contribución se convierte ahora en homenaje y recuerdo para el último maestro de toda una gran generación de estudiosos del arte, entre los que cabría incluir a Erwin Panofsky, Rudolf Wittkower o Nikolaus Pevsner. El texto, hasta ahora inédito, corresponde a una intervención del profesor Gombrich en la Facultad de Filosofía y Letras de la Universidad Complutense, el 30 de enero de 1992, en la víspera de su nombramiento como Doctor Honoris Causa. Con esta intervención se clausuraba un seminario sobre su obra y sus ideas, organizado por el profesor Valeriano Bozal en el Departamento de Historia del Arte Contemporáneo, en el que habían intervenido distintos especialistas en historiografía del arte y en la obra de Gombrich.  Tras formular las tres preguntas que pueden definir las tareas que han ocupado a los estudiosos del arte ––el qué, el porqué y el cómo––, Gombrich describe la que ha sido su principal tarea y preocupación durante toda su vida académica: la pregunta sobre el porqué de una obra de arte, y muy especialmente, la de por qué a lo largo de la historia, durante distintas épocas, estilos y lugares, se ha representado la realidad de maneras completamente distintas.

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17

Hargittai, Istvan, and Richard Woodfield. "Gombrich on Art and Psychology." Leonardo 30, no. 2 (1997): 160. http://dx.doi.org/10.2307/1576432.

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18

Carrier, David. "Reply to Sir Ernst Gombrich." Leonardo 18, no. 2 (1985): 126. http://dx.doi.org/10.2307/1577904.

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19

Trépos, Jean-Yves. "Ernst Hans Gombrich, Aby Warburg." Questions de communication, no. 29 (June 30, 2016): 415–19. http://dx.doi.org/10.4000/questionsdecommunication.10563.

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20

Woodfield, Richard. "GOMBRICH ON LANGUAGE AND MEANING." British Journal of Aesthetics 25, no. 4 (1985): 389–93. http://dx.doi.org/10.1093/bjaesthetics/25.4.389.

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21

Hope, Charles. "HOW GOMBRICH WILL BE REMEMBERED." Wiener Jahrbuch für Kunstgeschichte 59, no. 1 (2010): 265–72. http://dx.doi.org/10.7767/wjk.2011.59.1.265.

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22

Arnheim, Rudolf, and Richard Woodfield. "Gombrich on Art and Psychology." Journal of Aesthetic Education 32, no. 2 (1998): 113. http://dx.doi.org/10.2307/3333565.

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23

Lawudjaja, Anita. "Estetika Platon Dalam Konteks Revolusi Seni Rupa Yunani." DISKURSUS - JURNAL FILSAFAT DAN TEOLOGI STF DRIYARKARA 15, no. 2 (2016): 106. http://dx.doi.org/10.26551/diskursus.v15i2.8.

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Abstrak: Mayoritas pembaca Platon menafsirkan filsafat Platon dalam perspektif dualisme, yaitu terdapat dunia idea (kosmos noetos) yang berlawanan dengan dunia indrawi (kosmos aisthetos). Cara tafsir ini menimbulkan banyak kontradiksi. Dalam estetika, E.H. Gombrich, sejarawan seni yang menelurkan teori Revolusi Seni Rupa Yunani, juga membaca Platon dalam tafsir dualisme. Gombrich menyimpulkan bahwa bagi Platon kontemplasi keindahan dapat membawa kita ke dunia idea yang transenden, sedangkan seni hanya menyenang-nyenangkan, mengelabui indra dan menggoda pikiran untuk terikat pada bayang-bayang. Padahal dalam teorinya sendiri, Gombrich menjelaskan bahwa karya seni rupa Yunani terkemuka persis karena keindahannya yang dihidupkan dengan daya ilusif-persuasif. Tulisan ini hendak melempangkan kontradiksi tersebut dengan mengoreksi dunia idea - dunia indrawi menjadi alam visibel – alam inteligibel (horatos topos – noetos topos), istilah yang dipakai Platon dalam corpus-nya. Tulisan ini menyimpulkan bahwa Platon tidak menolak daya ilusif-persuasif yang terdapat dalam seni rupa melainkan menempatkannya sebagai instrumen untuk merealisasikan Agathon. Kata-kata Kunci: Daya ilusif-persuasif, keindahan, akal, intelek, seni. Abstract: The majority of Plato’s reader interprets his philosophy in dualistic perspective, that there is the intelligible world (kosmos noetos) which opposed to the sensible world (kosmos aisthetos). This perspective caused many contradictions. In Aesthetics, E.H. Gombrich, an art historian who creates the Greek Revolution Theory, also read Plato under the perspective of dualism. For him, Plato thought that the contemplation of beauty can lead to the realm of transcendent ideas, while art can only flatter, deceive the senses and seduce the mind to feed on phantoms. Meanwhile, Gombrich also thought that Greek Art is beautiful precisely because of the power of illusion-persuasion. This article aims to reconcile the contradiction by replacing the intelligible world - sensible world to the intelligible realm - visible realm (topos noetos - horatos topos), the original term which Plato used in his corpus. And it concludes that Plato did not oppose the power of illusion-persuasion in art but placing them as an instrument to realize Agathon. Keywords: Illusion-persuasion, beauty, mind, intellect, art.

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24

Carrier, David. "Gombrich and Danto on Defining Art." Journal of Aesthetics and Art Criticism 54, no. 3 (1996): 279. http://dx.doi.org/10.2307/431629.

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25

Krieger, Peter. "Ernst H. Gombrich: sustentabilidad del pensamiento." Anales del Instituto de Investigaciones Estéticas 23, no. 79 (2012): 209. http://dx.doi.org/10.22201/iie.18703062e.2001.79.2101.

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26

Walshe, Maurice. "Theravada Buddhism. A Social History from Ancient Times to Modern Colombo. Richard F. Gombrich." Buddhist Studies Review 8, no. 1-2 (1991): 190–92. http://dx.doi.org/10.1558/bsrv.v8i1-2.15721.

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27

Montes Serrano, Carlos. "Et in Arcadia ego. Panosfski en perspectiva." Ra. Revista de Arquitectura 9 (May 10, 2018): 29–42. http://dx.doi.org/10.15581/014.9.25912.

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En el presente ensayo se analiza la biografía científica del célebre historiador del arte Erwin Panofsky, intentando evaluar su legado a la historia del arte y de la cultura a partir de los comentarios críticos, explícitos o implícitos, que nos ha dejado Ernst H. Gombrich en el conjunto de sus escritos. Por lo análogo de su trayectoria profesional, las relaciones con el Warburg Institute, los intereses comunes en el ámbito de estudio, la amistad y el reconocimiento mutuo que se tuvieron en vida, las opiniones y críticas de E. H. Gombrich son especialmente autorizadas y valiosas para juzgar, ya cercanos a los cuarenta años de su muerte, las ideas y presupuestos teóricos de Panofsky.

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28

Norman, K. R. "Journal of the Pali Text Society, Volume XXV. Ed. by O. von Hinuber & R. F. Gombrich." Buddhist Studies Review 17, no. 2 (2000): 221–22. http://dx.doi.org/10.1558/bsrv.v17i2.14484.

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29

Chien, Jui-Pi. "Schemata as the primary modelling system of culture: Prospects for the study of nonverbal communication." Sign Systems Studies 42, no. 1 (2014): 31–41. http://dx.doi.org/10.12697/sss.2014.42.1.02.

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The art historian Ernst Gombrich asserted that both artists and viewers are constrained by specific cultural mental sets within which they operate: he used “schemata” to refer to both actual sketches and our mental sets. In mapping the mechanism of culture, Juri Lotman situated both language and the “schematized image” at the centre of semiospheres: they function to introduce unity and eliminate contradictions. Schemata have obviously served as both the cause and the result of human knowledge, some loosely constructed yet highly condensed forms of art in different domains. Theorizing at a time of a hypertrophy of scientific and linguistic models, Lotman and Gombrich appear to have converged on theorizing our means of connecting people across cultures. They each put forward their own perspectives concerning the interplay between culture, art and pictorial representation. This paper serves to: (1) examine how Lotman and Gombrich interpreted Jakobson’s scheme of communication; (2) reveal the paradox of schemata and nonverbal communication latent in their writings; (3) soften the paradox by drawing on Lotman’s conceptulization of play as an emotional structure. It is argued that the kind of emotive potential defined from the perspective of beholders or addressees is crucial to our survival in the global village.

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30

HU, Zihang. "From Apelles’ Line to Vermeer’s Window:on the Problem of Light in the Convention of Representational Paintings." Advances in Art Science 2, no. 1 (2025): 51–60. https://doi.org/10.48014/aas.20250110001.

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Starting from the anecdote of the “Apelles’ Line” recorded in Pliny’s Natural History, Gombrich excavated a schema of light and shadow which serves to paint three-dimensional shapes, and analyzed the corrections made by Medieval and Renaissance masters to this schema. However, the history of traditional representational painting is not only an evolutionary history of naturalism, and the observation and analysis of painters are not necessarily just to shape the volume of objects to create realistic illusions. Light, as a painting effect with ambiguity, whose aesthetic value has been overlooked, plays a significant role in the perception even though it sometimes distracts artists from reality. Gombrich' s theoretical model to some extent avoided the value of the issue of light, prematurely limiting itself to the division of North and South painting in Western Europe in the 15th century, and failing to touch on the creative ideas of subsequent painters in light. How do we re-establish the applicability of Gombrich' s theory of light while still adhering to the basic premise of representational art? This article attempts to start from Wollheim' s aesthetic theory, combined with several theoretical texts on painting in the Renaissance and Daniel Arasse' research on Vermeer' s works, to understand another clue to the issue of light.

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31

Montes Serrano, Carlos. "La contribución de Ernst H. Gombrich a la Revista EGA." EGA Revista de expresión gráfica arquitectónica 23, no. 34 (2018): 48. http://dx.doi.org/10.4995/ega.2018.10866.

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<p>Algunos de los libros de E. H. Gombrich, como <em>Arte e Ilusión, El Sentido de Orden, La Imagen y el Ojo, </em>o sus cuatro volúmenes sobre el Renacimiento, tuvieron en su día una gran acogida entre los profesores de Expresión Gráfica Arquitectónica. Parecía lógico pues, contar con algún escrito inédito del profesor Gombrich cuando se pensó editar el primer número de <em>EGA. </em>En este texto se evoca aquel primer interés, y el hecho de que la Revista haya sido la primera publicación académica (junto con <em>The Burlington Magazine</em>) que le rindió homenaje tras su fallecimiento en noviembre de 2001.</p>

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Norman, K. R. "Journal of the Pali Text Society, Volume XXVI. Edited by O. von Hinüber and R.F. Gombrich." Buddhist Studies Review 18, no. 2 (2001): 250–52. http://dx.doi.org/10.1558/bsrv.v18i2.14458.

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Norman, K. R. "Journal of the Pali Text Society, Volume XXVII. Edited by O. von Hinüber and R.F. Gombrich." Buddhist Studies Review 20, no. 1 (2003): 84–85. http://dx.doi.org/10.1558/bsrv.v20i1.14314.

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34

Töpfer, Frank. "Ernst Gombrich und das Wertproblem der Geisteswissenschaften." Archiv für Kulturgeschichte 100, no. 2 (2018): 245–70. http://dx.doi.org/10.7788/arku.2018.100.2.245.

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35

Kim Hyungu. "How Buddhism Began by Richard F. Gombrich." 불교학리뷰 ll, no. 21 (2017): 139–49. http://dx.doi.org/10.29213/crbs..21.201706.139.

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36

Garfield, J. L. "What the Buddha Thought. By Richard Gombrich." Journal of the American Academy of Religion 78, no. 3 (2010): 835–38. http://dx.doi.org/10.1093/jaarel/lfq032.

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37

Gregory, Richard. "Master Scholar—Sir Ernst Gombrich—At Ninety." Perception 28, no. 3 (1999): 283–86. http://dx.doi.org/10.1068/p2803ed.

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38

Verstegen, Ian. "Arnheim and Gombrich in Social Scientific Perspective." Journal for the Theory of Social Behaviour 34, no. 1 (2004): 91–102. http://dx.doi.org/10.1111/j.1468-5914.2004.00236.x.

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39

TURNER, NORMAN. "Some Questions About E.H. Gombrich on Perspective." Journal of Aesthetics and Art Criticism 50, no. 2 (1992): 139–50. http://dx.doi.org/10.1111/1540_6245.jaac50.2.0139.

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40

CARRIER, DAVID. "Discussion: Gombrich and Danto on Defining Art." Journal of Aesthetics and Art Criticism 54, no. 3 (1996): 279–80. http://dx.doi.org/10.1111/1540_6245.jaac54.3.0279.

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41

Demchuck, Stefaniia. "Gombrich, Ukraine and another Science of Art." Text and Image: Essential Problems in Art History, no. 2 (2022): 45–51. http://dx.doi.org/10.17721/2519-4801.2022.2.05.

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The essay discusses the state and the prospects of Ukrainian art history and its relationship with the so-called ‘Art studies’. It offers insights into the origins of the notion of art studies imposed by the Soviet authorities to replace the ‘bourgeois’ theory and history of art which flourished at the beginning of the 20th century in Ukrainian universities. The introduction of art studies meant the growth of the rift between Soviet scholarship and the rest of the world. This first shift was followed by acts aimed at provincializing Ukrainian scholars through censorship and limited access to publications and fellowships. The long-awaited independence of Ukraine has changed much neither in approaches to teaching the history of art at art schools and academies nor in the methodology of scholars. The science of art in Ukraine remains to a large extent outdated, rooted in connoisseurship and formal analysis and sometimes even confused with art criticism. Ernst Gombrich’s lecture of 1966 pointed to the importance of tackling political, social and economic circumstances that impacted artistic development while teaching art history. His conclusions despite seeming obvious are still to be taken into account in Ukrainian realities as the attitude towards history in art academies remains rather superficial and condescending as to a ‘science of facts’, which completely ignores the last decades of methodological pursuits of historians and art historians. Going back to the notion of theory and history of art as a discipline that should be taught and researched as well as tackling linguistic obstacles and re-inventing methodology might help to overcome the divide between Ukrainian scholarship and their foreign peers and make research conducted in Ukraine and/or by Ukrainian art historians visible to the European and global art community. It, too, will mean the beginning of another science of art in Ukraine.

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42

Moscovici, Claudia. "E.H. Gombrich şi Arthur Danto: Cele mai ȋnalte standarde ȋn istoria artei." Hiperboreea A1, no. 12 (2012): 22–25. http://dx.doi.org/10.5325/hiperboreea.1.12.0022.

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Abstract This essay examines the writing of the legendary art historians and aesthetic theorists E. H. Gombrich and Arthur Danto. In my opinion, their books set the highest standards in expository writing in the arts and humanities. Both of them felt equally comfortable writing for a large general audience as for a smaller group of specialists. In fact, they wrote different books for these different audiences. Though highly respected for their scholarship, both Gombrich and Danto are best known for explaining art history and aesthetics to the general public in a simple, clear and engaging manner. They abide by one of the most famous sayings attributed to Albert Einstein — “If you can't explain it simply, you don't understand it well enough” which, I believe, should be a mantra for expository writing in the arts and letters (creative writing being, of course, another matter).

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Cardona-Rodas, Hilderman. "El pochoir y la dimensión estética del color. Algunas reflexiones sobre la obra de E. A. Séguy." Ciencias Sociales y Educación 8, no. 16 (2019): 257–60. http://dx.doi.org/10.22395/csye.v8n16a19.

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Emile-Allain Séguy (1877-1951), artista y diseñador francés, se inscribe en el art decó y el art nouveau, facetas en la historia del arte que cultivan la simetría y lo orgánico en el diseño, surgidas a principios del siglo XX con efectos en la pintura y la escultura en aquella época. Según Gombrich (1999), al concluir el siglo XIX se generó un ambiente de intranquilidad y estupor, ya que los artistas se sentían insatisfechos con los fines y procedimientos del arte que agradaba al público. “La arquitectura ofreció el blanco más fácil para sus ataques, pues había evolucionado hasta convertirse en una rutina sin sentido” (Gombrich, 1999, p. 535). Así se fue consolidando un “arte de fachada” alimentado por la exigencia del público de columnas, pilastras, cornisas y molduras que reprodujeran patrones de estilos históricos.

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Khantipalo, Phra. "The World of Buddhism, Buddhist Monks and Nuns in Society and Culture. Ed. Heinz Bechert and Richard Gombrich." Buddhist Studies Review 3, no. 1 (1986): 49–54. http://dx.doi.org/10.1558/bsrv.v3i1.16148.

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The World of Buddhism, Buddhist Monks and Nuns in Society and Culture. Ed. Heinz Bechert and Richard Gombrich. Thames and Hudson, London 1984. 308 pp. with 297 illustrations, 82 in colour, 215 photographs, drawings and maps. £20.00.

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Norman, K. R. "Journal of the Pali Text Society. Volumes XXII-XXIV. Ed. O. von Hinüber ad R. F. Gombrich." Buddhist Studies Review 16, no. 2 (1999): 232–35. http://dx.doi.org/10.1558/bsrv.v16i2.14640.

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Goldwert, Marvin. "Temporal Integration and Psychohistory." Psychological Reports 71, no. 3_suppl (1992): 1129–30. http://dx.doi.org/10.2466/pr0.1992.71.3f.1129.

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Citing Hearnshaw and Gombrich on the concept of temporal integration, this paper briefly suggests the utility of this concept to the psychohistorian. A case study on the Aztecs, as viewed by historian William H. Prescott, illustrates this theme.

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Ireland, John D. "How Buddhism Began. The Conditioned Genesis of the Early Teachings. Richard F. Gombrich." Buddhist Studies Review 15, no. 2 (1998): 242–44. http://dx.doi.org/10.1558/bsrv.v15i2.14711.

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How Buddhism Began. The Conditioned Genesis of the Early Teachings. Richard F. Gombrich. Jordan Lectures 1994. Published by Athlone Press for The School of Oriental and African Studies, London 1996. xi, 180 pp. £25.00. ISBN 0-485-17417-0.

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Rabadán Villalpando, María Eugenia. "La estructura de las revoluciones científicas según Thomas Kuhn en el análisis de la historia del arte." Arbor 193, no. 783 (2017): 372. http://dx.doi.org/10.3989/arbor.2017.783n1003.

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Este texto plantea problemas teórico metodológicos relativos a una particular investigación sobre paisajismo moderno y contemporáneo. En él se trazan algunas cuestiones relativas a procesos dinámicos de cambios teóricos, epistemológicos y de forma en las artes visuales S. XX-XXI. El análisis, basado en el estructuralismo de las revoluciones científicas de Thomas Kuhn, tiene contenidos que responden al cuestionamiento sobre la articulación de paradigmas según Kuhn en historia de la ciencia, en vez de articulación de estilos según Heinrich Wölfflin, Meyer Schapiro o, entre otros, Ernst Gombrich en historia del arte, dado que ciencia y arte son empresas de distinta naturaleza. El acercamiento de Kuhn a la historia del arte, particularmente a la obra de Gombrich, nos llevó a trazar un paralelismo de ciencia y arte en Kuhn y al estudio de textos en los que trata la posibilidad de articulación de paradigmas en historia del arte.

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Verstegen, Ian. "The Politics of Physiognomic Perception." Gestalt Theory 44, no. 1-2 (2022): 183–200. http://dx.doi.org/10.2478/gth-2022-0008.

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Summary This article stages a confrontation between latent nominalist attitudes about inherent expression in perception—physiognomy—and new affective modes. In a classic analysis, Gombrich warned of the lack of veridicality of physiognomic perception, a sentiment endorsed by postmodern theories. At the same time, affect theory affirms a level of directly available intensities. Using the example of Rudolf Arnheim, it can be seen that the two are really specular opposites of each other, each merely valorizing different poles of the affect-cognition scale. Arnheim’s Gestalt theory shows how immediate percepts can have a generic structure, which is differentiated with further acquaintance. Arnheim, however, shows how perception can never account for all the power of expressive seeing. Perception and cognition is always embedded in a social matrix. Using an example of racist antisemitic propaganda used by Gombrich, the political implications of Arnheim’s position are demonstrated.

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Onians, John. "Wilde, Pevsner, Gombrich… : la « Kunstgeschichte » en Grande-Bretagne." Perspective, no. 2 (June 30, 2007): 194–206. http://dx.doi.org/10.4000/perspective.3798.

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