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

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Published: 4 June 2021

Last updated: 1 February 2022

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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 r

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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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6

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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7

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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8

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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10

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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12

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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13

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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14

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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16

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

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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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18

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 inte

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19

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 f

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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

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22

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 semi

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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. Rese

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24

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

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25

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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26

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 use

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28

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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29

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.

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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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31

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 co

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33

"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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34

"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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