Art and Illusion: A Study in the Psychology of Pictorial RepresentationMet talrijke voorbeelden uit de kunstgeschiedenis toegelichte studie over de steeds veranderende wijze waarop de kunstenaar uitbeeldt wat hij ziet en ervaart en over de factoren die daarop van invloed zijn |
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Page 246
... discovery of appearances . Primitive art starts , like that of children , with symbols of concepts . In a child's drawing of a face a circle symbolizes the mask , two dots the eyes , and two lines the nose and mouth . Gradually the ...
... discovery of appearances . Primitive art starts , like that of children , with symbols of concepts . In a child's drawing of a face a circle symbolizes the mask , two dots the eyes , and two lines the nose and mouth . Gradually the ...
Page 264
... discovery of appearances ' that is really the discovery of the ambiguities of vision . X IT IS in these facts that we must see the ultimate reason why representational art has a history , and a history of such length and complexity . To ...
... discovery of appearances ' that is really the discovery of the ambiguities of vision . X IT IS in these facts that we must see the ultimate reason why representational art has a history , and a history of such length and complexity . To ...
Page 290
... discovery of the difference between likeness and equivalence . This is how the great seventeenth - century critic Filippo Baldinucci defines the art of mock portraiture : ' Among painters and sculptors , ' he explains in his dictionary ...
... discovery of the difference between likeness and equivalence . This is how the great seventeenth - century critic Filippo Baldinucci defines the art of mock portraiture : ' Among painters and sculptors , ' he explains in his dictionary ...
Contents
Introduction | 3 |
From Light into Paint | 29 |
Truth and the Stereotype | 55 |
Copyright | |
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Art and Illusion: A Study in the Psychology of Pictorial Representation Ernst Hans Gombrich No preview available - 1977 |
Common terms and phrases
Albrecht Dürer Alexander Cozens ambiguity André Malraux appear artist aware called canvas caricature century chapter Chinese cited clues colour Constable's context copy Cozens critics cubism discovery discussed drawing effect Egyptian experience expression fact famous figure Gallery of Art historian history of art idea illusion illusionist illustration imagination imitation interpretation invention J. J. Gibson John Constable Julius von Schlosser Kunst language learned Leonardo da Vinci light look means mental set method mind motif Museum National Gallery nature never object painter Paris pattern Perception perhaps perspective Philostratus photograph picture Plato portrait poster problem projection psychology reading reality Rembrandt rendering represent representation Rodolphe Töpffer Ruskin schema schemata seen shapes story style suggest theory things tion Töpffer tradition trick trompe l'œil truth Vasari visible world vision visual Visual Perception Wivenhoe Park York and London