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Journal articles on the topic 'Gombrich, E. H'

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Published: 4 June 2021
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1

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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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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3

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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4

Turner, Norman. "Some Questions about E. H. Gombrich on Perspective." Journal of Aesthetics and Art Criticism 50, no. 2 (1992): 139. http://dx.doi.org/10.2307/430953.

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5

Brown, Frank. "Aby Warburg: An Intellectual Biography. E. H. Gombrich." Journal of Religion 68, no. 4 (1988): 636. http://dx.doi.org/10.1086/487979.

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Batubara, Taslim. "Sejarah Dunia untuk Pembaca Muda, by Ernst H. Gombrich." MUKADIMAH: Jurnal Pendidikan, Sejarah, dan Ilmu-ilmu Sosial 2, no. 1 (2018): 88–90. http://dx.doi.org/10.30743/mkd.v2i1.784.

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Moser-Ernst, Sybille. "The Needs of the Mind: Ernst H. Gombrich on Art." Leonardo 51, no. 3 (2018): 225–26. http://dx.doi.org/10.1162/leon_a_01619.

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Kozbelt, Aaron. "E. H. Gombrich on Creativity: A Cognitive–Historical Case Study." Creativity Research Journal 20, no. 1 (2008): 93–104. http://dx.doi.org/10.1080/10400410701842128.

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9

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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Kim, Nanyoung. "Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education." Journal of Aesthetic Education 38, no. 4 (2004): 32. http://dx.doi.org/10.2307/3527374.

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Kim, Nanyoung. "Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education." Journal of Aesthetic Education 38, no. 4 (2004): 32–45. http://dx.doi.org/10.1353/jae.2004.0038.

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Yun, Ji-Young. "A Study on the Works of Hussein Chalayan as a Representation of Idea from the Perspective of E. H. Gombrich." Journal of the Korean Society of Clothing and Textiles 33, no. 7 (2009): 1128–39. http://dx.doi.org/10.5850/jksct.2009.33.7.1128.

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Lizarraga-Gutiérrez, Paula. "E.H.Gombrich rereding Hegel's Lectures on aesthetics." Pensamiento y Cultura 14, no. 2 (2011): 164–73. http://dx.doi.org/10.5294/pecu.2011.14.2.4.

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Gombrich, Ernst H. "E. H. Gombrich. La Historia del Arte y la República de las Letras." EGA Revista de expresión gráfica arquitectónica 23, no. 34 (2018): 42. http://dx.doi.org/10.4995/ega.2018.10865.

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<p class="Default">Discurso con ocasión de su investidura como Doctor <em>Honoris Causa</em> de la Universidad Complutense, el 28 de enero de 1992.</p><p class="Default">Traducción de Carlos Montes</p><p class="Default"> </p>
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15

Sauerländer, Willibald. "Pour la délivrance du passé. « Aby Warburg : une biographie intellectuelle », par E. H. Gombrich." Histoire de l'art 5, no. 1 (1989): 5–10. http://dx.doi.org/10.3406/hista.1989.2310.

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Lima, Morgana Gama de. "DA DIMENSÃO HISTÓRICA NA ANÁLISE DE ESTILO EM OBRAS DE ARTE: CONTRIBUIÇÕES DE BOURDIEU." Palíndromo 10, no. 22 (2018): 91–105. http://dx.doi.org/10.5965/21752346102202018091.

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Tendo em vista a importância e a centralidade que a figura do autor ou agente realizador apresenta em estudos relacionados à investigação de questões de estilo em obras de arte, esse artigo pretende refletir como a dimensão histórica contribui no exercício interpretativo de produções culturais. Como parte de nosso percurso reflexivo, apresentamos inicialmente algumas abordagens desenvolvidas por Ernst H. Gombrich (1984; 2005), no que se refere a questões de estilo, para, posteriormente, discutir de forma mais ampla os desdobramentos dessa perspectiva histórica através da argumentação de Pierre Bourdieu em seu livro As regras da arte (2002).
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17

Agocs, Andreas. "Louis Rose. Psychology, Art, and Antifascism: Ernst Kris, E. H. Gombrich, and the Politics of Caricature." American Historical Review 123, no. 4 (2018): 1415–16. http://dx.doi.org/10.1093/ahr/rhy157.

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Rives, Rochelle. "Facing Wilde; or, Emotion's Image." Publications of the Modern Language Association of America 130, no. 5 (2015): 1363–80. http://dx.doi.org/10.1632/pmla.2015.130.5.1363.

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Oscar Wilde's face was simultaneously maligned and celebrated by the “sciences” of physiognomy in the nineteenth century and, after the trials of 1895, in depictions that link Wilde to a pathologically expressive personality type. Personality and modern vision converge in the subject of Wilde's face, and their relation is illuminated by recent debates about affects and the emotions as well as by the theories of visual modernity advanced by Charles Baudelaire, Max Beerbohm, and E. H. Gombrich and Ernst Kris . Whereas early caricatures of Wilde invest the image with a readable psychology or interior, later depictions maintain a fiction of readability linked to a purely physiological notion of abnormal personality.
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Cowan, Katherine. "THE PREFERENCE FOR THE PRIMITIVE; EPISODES IN THE HISTORY OF WESTERN TASTE AND ART. E. H. Gombrich." Art Documentation: Journal of the Art Libraries Society of North America 22, no. 1 (2003): 58–59. http://dx.doi.org/10.1086/adx.22.1.27949248.

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20

Tokairin, Tania Yumi. "A INTERAÇÃO ROMÂNTICA COM A NATUREZA: WUTHERING HEIGHTS, DA ESCRITORA EMILY BRONTË, E STREAMER IN A SNOWSTORM E THE SHIPWRECK, DO PINTOR WILLIAM TURNER." Revista de Literatura, História e Memória 17, no. 29 (2021): 326–51. http://dx.doi.org/10.48075/rlhm.v17i29.26099.

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O presente artigo é um estudo interartes que tem por objetivo comparar duas produções inglesas de características românticas: o romance Wuthering Heights (O Morro Dos Ventos Uivantes, 1847), da escritora Emily Brontë (1818-1848), e as pinturas Streamer In A Snowstorm (Vapor Numa Tempestade De Neve, 1842) e The Shipwreck (O Naufrágio, 1805), de Joseph Mallord William Turner (1775-1851). Tomando como parâmetro metodológico uma pesquisa de origem comparativa, envolvendo a leitura de imagem e de texto literário, far-se-ão as análises das mencionadas pinturas criadas por William Turner e da prosa ficcional de Emily Brontë, deslindando a interação entre as suas respectivas criações com o tema da natureza, e pontuando, por conseguinte, o diálogo entre as obras enquanto representações importantes dentro do Romantismo inglês. Para a fundamentação teórico-crítica utilizamos estudos da área de literatura, artes visuais e filosofia, de autora e autores como: Márcia Cavendish Wanderley, Benedito Nunes, Anatol Rosenfeld, J. Guinsburg, Georges Bataille, E. H. Gombrich, Herbert Read, Friedrich Schelling e Michel Ribon.
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21

Waldrep, Shelton. "The Body of Art." Corpus Mundi 1, no. 2 (2020): 62–87. http://dx.doi.org/10.46539/cmj.v1i2.21.

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As part of a larger study on the mainstreaming of pornography in contemporary film and television, this essay attempts to examine and extend our vocabulary for discussing visual representations of the human body by revisiting Kenneth Clark’s important study The Nude from 1972. Clark’s book provides a history of the male and female nude in two- and three-dimensional art from Ancient Egypt and Greece to the Renaissance and beyond. This essay focuses on places within his analysis that are especially generative for understanding pornography such as the importance of placing the nude form within a narrative (Venus is emerging from her bath, for example) or attempts by artists to suggest movement within static forms. The essay places Clark’s rich typology in conversation with other thinkers, such as Fredric Jameson, Erwin Panofsky, E. H. Gombrich, and Michel Foucault. The piece ends with a discussion of androgyny and hermaphroditism as they relate to the expression of gender in plastic art, especially the notion that all representations of the body necessarily include a gender spectrum within one figure. Artists whose work is looked at in some detail include Da Vinci, Michelangelo, and Donatello.
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Kurażyńska, Dorota Maria, and Juan J. Cabrera-Contreras. "Muñecas: sueños & juegos ancestrales que desafían la Teoría canónica de la imagen." Vista, no. 5 (October 22, 2020): 173–205. http://dx.doi.org/10.21814/vista.3046.

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El objetivo de este trabajo es hacer patentes algunas de las limitaciones de la Teoría de las imágenes actualmente tenida por canónica - que postula que imagen = signo -, ilustrándolas con un análisis de su dificultad para afrontar la pregunta “¿qué tipo de imagen es una muñeca?”. También pretendemos llamar la atención sobre la necesidad de construir una teoría más solvente, que sea capaz de describir y explicar la disparidad tan diversa de los empleos en los que las imágenes son usadas de facto - y que rebasan, claramente, el muy selectivo y restringido ámbito de los empleos semióticos. Argumentaremos, así mismo, que la petitio principii que reduce las imágenes a la condición de signos obstaculiza la posibilidad de verlas como artefactos concebidos y conformados para servir como útiles definidos por el empleo específico al que están destinados. Como estudio de caso hemos seleccionado un ensayo de Maurizio Bettini titulado Pupa. La muñeca en la cultura griega y romana, que evidencia algunas de las aporías involucradas por la doctrina canónica de la imagen. Apoyaremos nuestra discusión en el trabajo de dos autores eminentes que han encarado la cuestión “¿qué es una imagen?”, W.J.T. Mitchell y Ernst H. Gombrich. Nuestro estudio trata únicamente de imágenes que son artefactos físicos. La noción de “artefacto–útil” ayudará a conceptualizar y organizar algunas de las preguntas y problemas centrales en nuestro acercamiento a la comprensión de las imágenes.
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23

Didkowska, Bernadeta. "Selected Concepts in The Development of Drawing Activity in Children Aged 3 to 12." Creativity. Theories – Research - Applications 4, no. 1 (2017): 65–79. http://dx.doi.org/10.1515/ctra-2017-0003.

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Abstract More than a hundred years of research on the drawing activity of children and young people shows both a change in the way it is perceived and in its importance for healthy development. Numerous monographs, dissertations, research conducted by psychologists, pedagogues, aestheticians, art historians and visual artists has contributed to the popularity of terms such as “children’s art” or “children’s artistic work”. Children’s and young people’s drawings have not only been acknowledged for their artistic and aesthetic value, but also for their projective and psychometric qualities. Research on children’s drawing shows that the depiction is a result of knowledge and perception, which depends on personality and intelligence, as well as on emotions, persistent views and attitudes. Furthermore, the content, as well as the formal qualities of a drawing are subject to the constant influence of changing aesthetic conventions and cultural processes. This article deals with selected classic concepts of artistic development in children aged 3 to 12 defined by researchers such as Stefan Szuman, Georges Henri Luquet, Viktor Lowenfeld and Lambert Brittain, Rudolf Arnheim, Ernst H. Gombrich and Władysław Strzemiński. The crucial aspect of this disquisition was to emphasize the value of spontaneous children’s drawings and of the role of spontaneous drawing in their appropriate development. It was equally important to highlight the need for the students to do their own creative work with a teacher assisting them only as a guide, a discrete observer and potential advisor. This is why I pondered upon the following key notions in characterizing the drawing activity of children aged 3 to 12: the period of scheme in drawing development (ideoplastic art, S.Szuman), spontaneous drawing and drawing scheme.
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Heneraliuk, Lesia. "Ways of cross-media research formation." Слово і Час, no. 3 (May 26, 2020): 3–27. http://dx.doi.org/10.33608/0236-1477.2020.03.3-27.

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The paper offers to extend the historical time frame of modern cross-media studies formation. The start of this research direction dates not from the 1950-60s, as it is usually considered to be, but from the early 20th century, the ‘synthesis epoch’. Development of neosyncretism was accompanied by creating bright theories in aesthetics and art criticism and promoting the concept of arts’ interaction by the humanities. Three scholars — H. Wolfin, M. Dessoir, and A. Warburg were the pioneers of the modern interdisciplinary research field. The author considers that the range of influences on the cross-media studies in literary criticism should be broadened with the works of philosophers and art critics who started to use the cross-media strategies (not the term itself) when analyzing the works of literature and arts. The leading role belonged to the Iconology school (E. Panofsky, R. Wittkower, E. Gombrich et al.). Their methods were based on applying tools of various disciplines. In the first place, they took into account connections between literature and visual arts. Henceforth, philology interpolated the iconological method into visual and comparative studies. One of the contemporary leading cross-media researchers, W. J. T. Mitchell, named his first book “Iconology: Image, Text, Ideology” (1986).
 In the middle of the 20th century, philosophy had a considerable influence on the cross-media research formation. In particular, literary critics referred to phenomenology (the works by M. Dufrenne, R. Ingarden. M. Merleau-Ponty) and actualized the analysis of interacting arts once more. A visual turn in culture caused growing attention to the issues of apperceptive cross-sensual experience. The newest works in the fields of perception psychology, gestalt psychology, neurolinguistics, and neurophysiology also support the general cross-media theory. It is possible that, due to the mutual influences of sciences, a uniform platform for studying syncretic phenomena will be created.
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Field, Arthur. "Francis Ames-Lewis, ed. Cosimo "il Vecchio" de' Medici, 1389-1464: Essays in Commemoration of the 600th Anniversary of Cosimo de' Medici's Birth. Intro. E. H. Gombrich. Oxford: Clarendon Press, 1992. 16 pls. + xii + 316 pp. $85." Renaissance Quarterly 47, no. 4 (1994): 945–48. http://dx.doi.org/10.2307/2863223.

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O’Sullivan, Sinead. "Marjorie Curry Woods, Weeping for Dido: The Classics in the Medieval Classroom. (E. H. Gombrich Lecture Series.) Princeton and Oxford: Princeton University Press, 2019. Pp. xii, 176; 2 color plates and 17 black-and-white figures. $39.95. ISBN: 978-0-6911-7080-0." Speculum 95, no. 3 (2020): 925–26. http://dx.doi.org/10.1086/709655.

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27

Jaffe, Audrey. "Characters and Creatures." Victorian Literature and Culture 48, no. 4 (2020): 773–81. http://dx.doi.org/10.1017/s1060150320000297.

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Humans not only err, they often err willingly and explicitly, for both pleasure and edification. We accordingly “find” faces everywhere . . . most frequently, in the “faces” in paintings. And if we look at stars, clouds, and shadows we can find anything we want to find, so great is the indeterminacy of such finding places and so willing are we, for certain purposes, to accept the most minimal likenesses as “like.”Adena Rosmarin, The Power of Genre (1985)Adena Rosmarin's comment is part of a wider discussion of E. H. Gombrich's idea of the role of “schema” in perceptions of art—a concept he uses to explain, among other things, how it is that observers can perceive a face in a collection of lines and dots, and, more generally, why it makes sense to say that all art begins not with nothing but with something. A snowman starts with the schema that is snow, for example, and we “work the snow and balance the shapes till we recognize a man.” And not only do we work the snow to achieve some approximation of human faces and bodies, but we find human characteristics in—or, more accurately, make characters out of—all sorts of things, living and not. Certainly, we project character onto living nonhumans, such as cats, dogs, birds, and plants, imagining that they share our feelings of love, loneliness, and desire, but we also assign character and characteristics to inanimate objects and assorted phenomena: ships, cars, and hurricanes all get names; we may talk to the toaster, or grumble at a shoelace that, we imagine, stubbornly refuses—refuses!—to untie. Thus it is hardly surprising that literary characters, intended expressly as vehicles for imaginative occupation, take on a similarly outsize quality in our psyches. Words on a page, constructions of language, they invite us to consider them as soulmates and doppelgängers; nightmare—or perhaps ideal—versions of parents, brothers, sisters, friends, and selves: the families we might have chosen if we could; the me (or not me) nobody knows.
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Schneider, Norbert. "Form of Thought and Presentational Gesture in Karl Popper and E. H. Gombrich." Human Affairs 19, no. 3 (2009). http://dx.doi.org/10.2478/v10023-009-0038-4.

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Form of Thought and Presentational Gesture in Karl Popper and E. H. GombrichThe paper deals with common elements and differences in Popper and Gombrich, especially concerning their forms of thought and presentational gesture. Among others it considers the model of common sense which was basal for both of them as well as the similarities of searchlight theory (Popper) and some postulates of Gestalt psychology (Gombrich). At the end it analyses their approaches to historiography with special focusing on Gombrich's comments on the concept of social history of art.
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Hemingway, Andrew. "E. H. Gombrich in 1968: Methodological Individualism and the Contradictions of Conservatism." Human Affairs 19, no. 3 (2009). http://dx.doi.org/10.2478/v10023-009-0043-7.

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E. H. Gombrich in 1968: Methodological Individualism and the Contradictions of ConservatismThe commonalities Gombrich affirmed between his own positions on science, politics, and art and those of his friend Karl Popper are key to understanding both his work on the history of style and the conservative fulminations on method he published from the early 1950s onwards. United with Popper by their shared experience of exile from fascism, Gombrich failed to register the amateurish character of Popper's political theory and that his aversion to notions of social determination disabled the historian. Popper's skepticism regarding the ontological status of social collectivities and rejection of the concept of totality reinforced Gombrich's suspicions of holistic analysis and led him to fall back on naturalistic descriptions of individuals acting in a social world glued together by such commonsensical categories as "traditions" and "institutions". In this regard he is representative of the common aversion to sociology of the British intellectual establishment in the early Cold War.
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30

Elkins, James. "Ten Reasons Why E. H. Gombrich is not Connected to Art History." Human Affairs 19, no. 3 (2009). http://dx.doi.org/10.2478/v10023-009-0044-6.

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Ten Reasons Why E. H. Gombrich is not Connected to Art HistoryThis is a speculative essay on the place of E. H. Gombrich in art history. Gombrich is universally known, and still often studied at the undergraduate and graduate levels. He is indispensable for the historiography of the discipline. But at the same time, he is not often cited, and his work is not usually part of the ongoing conversations of the current state of art history or visual studies. This brief essay questions that condition.
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Castiñeyra Fernández, Patricia. "Arte y expresión en el pensamiento de E. H. Gombrich." Panta Rei, no. 1 (December 1, 2014). http://dx.doi.org/10.6018/pantarei/2014/5.

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32

Almeida, Anderson Diego, and Francisco Marshall. "O punctum como ausência na coleção perseverança: um percurso do olhar através do conceito de representação." Visualidades 16, no. 2 (2018). http://dx.doi.org/10.5216/vis.v16i2.48147.

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Resumo A partir da perspectiva conceitual sobre o punctum, elaborada por Roland Barthes, em A Câmara Clara, o artigo discorre sobre as suas múltiplas possibilidades de interpretação, e uma delas é o pungir da ausência. A primeira proposta é estabelecer um diálogo entre o conceito proposto por Barthes e Eliane Chiron, e o de representação, elaborado por alguns autores, dentre eles E. H. Gombrich. A segunda é analisar o punctum e sua aplicabilidade a partir da análise de um dos objetos da Coleção Perseverança1 , a Bolsa tipo Capanga2 . Ademais, a narrativa construída mostra a possibilidade do conceito barthesiano para outras manifestações humanas além da fotografia.Abstract From the conceptual perspective on punctum elaborated by Roland Barthes in The Clara Chamber, the paper discusses its multiple possibilities of interpretation, and one of them is the punch of absence. The first proposal is to establish a dialogue between the concept proposed by Barthes and Eliane Chiron, and that of representation, elaborated by some authors, among them E. H. Gombrich. The second is to analyze the puctum and its applicability from the analysis of one of the objects of Coleção Perseverança, the Bolsa tipo Capanga. Furthermore, the constructed narrative shows the possibility of the barthesian concept to other human manifestations besides photography.ResumenResumen A partir de la perspectiva conceptual sobre el punctum, elaborado por Roland Barthes, en la Cámara Clara, el artículo diserta sobre sus múltiples posibilidades de interpretación, y una de ellas es el castigo de la ausencia. La primera propuesta es establecer un diálogo entre el concepto propuesto por Barthes y Eliane Chiron y el de Representación, elaborado por algunos autores, entre ellos E. H. Gombrich. La segunda es analizar el puctum y su aplicabilidad a partir del análisis de uno de los objetos de la Colección Perseverança, la "Bolsa tipo Capanga". Sin embargo, la narrativa construida muestra la posibilidad del concepto barthesiano para otras manifestaciones humanas además de la fotografía.
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"Tributes. By E. H. Gombrich. (Pp. 270; illustrated; £17.50.) Phaidon Press: Oxford. 1984." Psychological Medicine 15, no. 4 (1985): 908. http://dx.doi.org/10.1017/s0033291700005353.

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"The Sense of Order. By E. H. Gombrich. (Pp. 411; illustrated; £22.50.) Phaidon Press: Oxford. 1984." Psychological Medicine 15, no. 3 (1985): 710. http://dx.doi.org/10.1017/s0033291700031792.

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35

Michl, Jan. "E. H. Gombrich's Adoption of the Formula form Follows Function: A Case of Mistaken Identity?" Human Affairs 19, no. 3 (2009). http://dx.doi.org/10.2478/v10023-009-0041-9.

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E. H. Gombrich's Adoption of the Formula form Follows Function: A Case of Mistaken Identity?This article is a longer note on what is a minor problem in the oeuvre of a great art historian. Its theme is E. H. Gombrich's use of the formula form follows function as the summary of his commonsense approach to the problem of style change. Although I am not sure how interesting this inquiry is in an art historical context, from the perspective of my own field of design history and of modernist design theory, Gombrich's adoption of the formula constitutes an intriguing problem.
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36

Bakoš, Ján. "Introductory: Gombrich's Struggle Against Metaphysics." Human Affairs 19, no. 3 (2009). http://dx.doi.org/10.2478/v10023-009-0037-5.

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Introductory: Gombrich's Struggle Against MetaphysicsThe paper deals with E. H. Gombrich's lifelong polemics against metaphysics in art history and the humanities. They began in 1937 and continued up until his final (posthumous) book
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