Art and Illusion: A Study in the Psychology of Pictorial RepresentationConsidered a great classic by all who seek for a meeting ground between science and the humanities, Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition. In testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks, and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the impressionists and the cubists. Gombrich's triumph in Art and Illusion arises from the fact that his main concern is less with the artists than with ourselves, the beholders. |
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Page 39
... canvas . The canvas receives a message dispatched usually a few seconds before from the natural object . But it has come through a post office en route . It has been transmitted in code . It has been turned from light into paint . It ...
... canvas . The canvas receives a message dispatched usually a few seconds before from the natural object . But it has come through a post office en route . It has been transmitted in code . It has been turned from light into paint . It ...
Page 48
... canvas it would still be nearer to the Cremona fiddle . It is a transposition , not a copy . Once we realize this basic fact , the master's contention that all paint- ings should be viewed as experiments in natural science loses much of ...
... canvas it would still be nearer to the Cremona fiddle . It is a transposition , not a copy . Once we realize this basic fact , the master's contention that all paint- ings should be viewed as experiments in natural science loses much of ...
Page 280
... canvas . To create a harmonious pattern in the plane , he must be able to rely on identical shapes remaining identical and steps in hue remaining inde- pendent of the beholder's imagination . In illusionist painting , neither is the ...
... canvas . To create a harmonious pattern in the plane , he must be able to rely on identical shapes remaining identical and steps in hue remaining inde- pendent of the beholder's imagination . In illusionist painting , neither is the ...
Contents
Psychology and the Riddle of Style | 3 |
From Light into Paint 333333 | 33 |
Truth and the Stereotype | 63 |
Copyright | |
9 other sections not shown
Common terms and phrases
ALBRECHT DÜRER Alexander Cozens ambiguity André Malraux appear artist bibliography called canvas caricature century chapter cited clues color Constable's context copy courtesy 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 impressionists interpretation 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 Perception perhaps perspective Philostratus photograph picture Plato portrait poster problem projection psychology Quintilian reading reality Rembrandt rendering represent representation RODOLPHE TÖPFFER Ruskin schema schemata seen shapes story style theory things tion Töpffer tradition trees trick trompe l'œil truth Vasari visible world vision visual Visual Perception Wivenhoe Park York and London