#E.H. Gombrich

[metaphrasis]

Actually I do not think that there are any wrong reasons for liking a statue or a picture. Someone may like a landscape painting because it reminds him of home, or a portrait because it reminds him of a friend. There is nothing wrong with that. All of us, when we see a painting, are bound to be reminded of a hundred-and-one things which influence out likes and dislikes. As long as these memories help up to enjoy what we see, we need not worry. It is only when some irrelevant memory makes us prejudiced, when we instinctively turn away from a magnificent picture of an alpine scene because we dislike climbing, that we should search our mind for the reason for the aversion which spoils a pleasure we might otherwise have had. There are wrong reasons for disliking a work of art.

— E.H. Gombrich, The Story of Art  

[suchshapingfantasies]

Tuscan master, Head of Chris, c.1175-1225

Figure 8

[suchshapingfantasies]

Figure 9

Albrecht Dürer, Hare, 1502

[dreaminginthedeepsouth]

[from my files :: life on the water]

* * * *

“To produce a perfect pearl the oyster needs some piece of matter, a sandcorn or a small splinter round which the pearl can form. Without such a hard core it may grow into a shapeless mass. If the artist’s feelings for forms and colours are to crystallize in a perfect work, he, too, needs such a hard core - a definite task on which he can bring his gifts to bear.” — E.H. Gombrich, The Story of Art

[alive on all channels]

[therepublicofletters]

E.H. Gombrich, Art and Illusion

[lesb0]

Hello miss Terra!

i was wondering if you knew about this art history book: The Story of Art by E.H. Gombrich (Phaidon ed.). I think it's only in French (?) but i'm not sure, and my art history teachers used to swear by it. it's kind of a mandatory reference in the french field :') still i was curious if you ever had encountered this work and if you had any thoughts on it

hope you have a nice day ✨️

here's a ref. picture of the version i own

Hello <3

in America we actually use Gardners as our 101 survey textbook if we are forced to use one. Textbooks are horrible for teaching art history, you need a lecture with slides or a video. But at least it's academic and gets updated every year. Gombrich is way too archaic, wrote for general audiences, and a lot of his positions haven't held up ie hating on the Marxist art historians like TJ. dismissed ALL modern art. He's just very intellectually irrelevant to anything art historians were doing after the 1910s.

We DO use his Norm and Form to explain why we avoid Wofflin style white supremacist formalism methods in Renaissance art classes. But one good refutation didn't make him into a good pedagogue.

[suchshapingfantasies]

Figure 3

Bartolomé Esteban Murillo, Street Arabs (1670)

[acheronist]

What are your other art thesis books?

ways of seeing (1972) and then also portraits (2017) which is an edited collection of essays about art by john berger

the art spirit (1923) by robert henri

the story of art (1950) by e.h. gombrich

theories of modern art (1968) by herschel b. chipp

the obstacle race (1979) by germaine greer

death and resurrection in art (2009) trans. by anthony shugaar / published by the j paul getty museum

symbolism (cant find a publishing year but it was thru taschen, sorry) by norbert wolf

know thyself (2018) by ingrid rossellini

200 years of american illustration (1977) by henry clarence pitz

the letters of vincent van gogh (1997) thru penguin classics

strapless (2004) by deborah davis

by her hand (2021) by babette bohn

[suchshapingfantasies]

Pieter de Hooch

Interior with a woman peeling apples, 1663

Figure 4

[msmirrorball21]

Thank you for tagging me @tylersayscool ☺️

Tagging, only if you want of course😌: @cazzyf1, @avida-heidia-5, @kaossbells, @ralphiesaces, @pinkjasminetea and whoever wants to do this please, say I tagged you!

[suchshapingfantasies]

Figure 14

Jockey Riding, Eadweard Muybridge, 1887, Harvard Art Museums: Photographs

Harvard Art Museums/Fogg Museum, Purchase through the generosity of Melvin R. Seiden Size: 24 × 30.5 cm (9 7/16 × 12 in.)

https://www.harvardartmuseums.org/collections/object/284982

[dankthereader]

Here we are, my READING LIST 2024:

On Earth We're Briefly Gorgeous by Ocean Vuong.

When Breath Becomes Air by Paul Kalanithi

The Kite Runner by Khaled Hosseini

A Thousand Splendid Suns by Khaled Hosseini

The Secret History by Donna Tartt

The Rainbow Troops: A Novel by Andea Hirata (reread Eng ver)

Q & A by Vikas Swarup (I watched the film)

The Da Vinci Code by Dan Brown (I read the Viet ver)

The Fault In Our Stars by John Green

The Book Thief by Markus Zusak

One Little Lie by Collen Coble

The Boy In The Striped Pyjamas by John Boyne

A Little History Of The World by E.H. Gombrich

The Hundred-Year-Old Man Who Climbed Out The Window And Disappeared by Jonas Jonasson

The Girl Who Saved The King Of Sweden by Jonas Jonasson

Mr. Lemoncello's Library Series by Chris Grabenstein (I read book 1 in Viet ver and I think it's pretty cool)

Minute Mage (try out book 1?)(havent read litrpg b4..)

The Prophet And The Idiot by Jonas Jonasson

The Devotion Of Suspect X by Higashino Keigo

Solomon's Perjury 1&2 by Miyabe Miyuki

The Librarians Series by Greg Cox (I like the show🥰)

I think that's enough, huh?

[hermitshideout]

09/06/23

5 days till my first class💀. I've got out of a mental pit that my grandma's death threw me in, now I'm steadily preparing for studying.

I bought 3 sketchbooks required today, and started reading "The Story of Art" by E.H. Gombrich from the list of suggested literature.

I'm getting kinda anxious about how hard uni will be, but I keep reminding myself that I wouldn't have had the opportunity if I didn't have what it takes.

[crazy-so-na-sega]

“Quando il gruppo del Laocoonte venne alla luce nel 1506, gli artisti e gli amatori d’arte ne furono letteralmente sconcertati. Vi è raffigurata la drammatica scena descritta anche nell’Eneide: il sacerdote troiano Laocoonte ha ammonito i suoi compatrioti di non accogliere il gigantesco cavallo in cui si nascondono soldati greci; gli dèi, che vedono ostacolati i loro progetti di distruggere Troia, mandano dal mare due giganteschi serpenti che stringono nelle loro spire il sacerdote e i suoi sventurati figli soffocandoli. È il racconto di una delle crudeltà insensate perpetrate dagli dèi contro poveri mortali, tanto frequenti nella mitologia greca e latina. Ci piacerebbe conoscere che effetto facesse la storia dell’artista greco che concepì questo gruppo impressionante. Voleva forse farci sentire l’orrore di una scena nella quale una vittima innocente viene straziata per aver detto la verità? O intendeva mostrarci soprattutto la propria capacità di raffigurare una lotta straordinaria e terrificante tra l’uomo e la bestia? Aveva ben ragione di inorgoglirsi della sua perizia. Il modo con cui i muscoli del tronco e delle braccia rendono lo sforzo e la sofferenza della lotta disparata, l’espressione di strazio nel volto del sacerdote, le contorsioni impotenti dei due fanciulli e la maniera nella quale tutto questo tumulto e movimento si cristallizza in un gruppo statico, hanno sempre riscosso l’universale ammirazione. Ma mi viene il dubbio, talvolta, che si trattasse di un’arte rivolta a un pubblico appassionato anche all’orribile spettacolo delle lotte fra gladiatori. Forse sarebbe un errore farne una colpa all’artista. Il fatto è che probabilmente nel periodo ellenistico l’arte aveva perduto ormai in larga misura il suo antico vincolo con la magia e la religione. Gli artisti si interessavano dei problemi della tecnica in quanto tale, e il problema di rappresentare un tema così drammatico con tutto il suo movimento e la sua espressività e tensione, era proprio una difficoltà atta a saggiare la tempra dell’artista. Se il destino di Laocoonte fosse giusto o meno, lo scultore non se lo domandava neppure.”

-E.H. Gombrich -La storia dell'arte

[suchshapingfantasies]

Figure 10

Elephant drawings by Rembrandt van Rijn

[exhibit-of-the-century]

Masterlist: Lesson Recommended Readings

Masterlist

BUY ME A COFFEE

✨Lucy E. Thompson, 'Vermeer's Curtain: Privacy, Slut-Shaming and Surveillance in "A Girl Reading a Letter", Survelliance & Society 2017 ✨Gregor Weber, 'Paths to Inner Values,' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames & Hudson, 2023) ✨Bernard Berenson on Masaccio, panel in National Gallery, 1907 ✨Giorgio Vadari, Lives of the Most Eminent Painters, Sculptors and Architects (online translation published, 1912) ✨Marjorie Munsterberg, Writing about Art ✨Paul Binski, Westminster Abbey and the Plantagenets: Kingship and the Representation of Power, 1200-1400, 1955 ✨Toby Green, A Fistful of Shells: West Africa from the River of the Slave Trade to the Age of Revolution, 'Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra', 2019

✨Pieter Roelofs, 'Girls with Pearls', extract from 'Vermeer's Tronies' in Gregor Weber, Pieter Roelofs, and Taco Dibbits, Vermeer, (NewYork: Thames and Hudson, 2023)

✨Frantz Fanon, Black Skin, White Masks (1986)

✨Frantz Fanon, The Wretched of the Earth (1963)

✨Decolonial/Postcolonial Voices

✨Honour, Hugh and Fleming, John.  A World History of Art. London: Laurence King Publishing. 7th ed, 2005

✨The Painter of Modern Life, Charles Baudlaire, 1863 Part 2, Part 3 Other Quality

✨The Photographers Eye, John Szarkowski, 1966

✨Elkins, James. Stories of Art. London: Routledge, 2002

✨Paragraphs on Conceptual Art, Sol Lewitt, 1967

✨Nikolaus Pevsner, The Buildings of England. London, volume 1, The Cities of London and Westminster, 1973

✨Annie E. Coombes, Reinventing Africa: Museums, Material Culture and Popular Imagination in Late Victorian and Edwardian England, 'Material Vulture at the Crossroads of Knowledge: The Case of the Benin "Bronzes", 1994

✨Hatt, Michael and Klonk, Charlotte, Art History: A Critical Introduction to its Methods, 2006

✨Meyer Schapiro, H. W. Janson and E. H. Gombrich, ‘Criteria of Periodization in the History of European Art’, New Literary History, 1970 ✨Thomas DaCosta Kaufmann, ‘Periodization and its Discontents’, Journal of Art Historiography, 2010

✨Kathryn Wysocki Gunsch, The Benin Plaques: A 16th Century Imperial Monument, 2018

✨D'Alleva, Anne. How to Write Art History. London: Lawrence King Publishing, 2010/2013/2015

✨Christopher Wilson, The Gothic Cathedral: the Architecture of the Great Church, 1130 - 1530, 1990

✨Anne D'Alleva, Methods and Theories of Art History, 2005/2012

✨Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987 ✨Paul Binski, Ann Massing, and Marie Louise Sauerberg (eds.), The Westminster Retable: History, Technique, Conservation, 2009

✨Christa Gardner von Teuffel, ‘Masaccio and the Pisa Altarpiece: A New Approach’, Jahrbuch der Berliner Museen, 1977 Part 2

✨John Shearman, ‘Masaccio’s Pisa Altar-Piece: An Alternative Reconstruction’, The Burlington Magazine, 1966

✨Kathryn Wysocki Gunsch, ‘Art and/or Ethnographica?: The Reception of Benin Works from1897–1935’, African Arts, 2013

✨Eliot Wooldridge Rowlands, Masaccio: Saint Andrew and the Pisa altarpiece, 2003

✨Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century, 1983

✨Clementine Deliss, Metabolic Museum 2020 ✨Laura Sangha, ‘On Periodisation: Or what’s the best way to chop history into bits’, The Many Headed Monster, 2016 ✨A Gangatharan, ‘The Problem of Periodization in History’, Proceedings of the Indian History Congress, 2008

✨McHam, Sarah Blake, "Donatello's Bronze David and Judith as Metaphors of Medici Rule in Florence," Art Bulletin, 2001

✨Eve Borsook, ‘A Note on Masaccio in Pisa’, The Burlington Magazine, 1961

✨Gombrich, E.H. The Story of Art, London: Phaidon Press Ltd, numerous editions

✨Paul Binski, 'The Cosmati at Westminster and the English Court Style', The Art Bulletin 72, 1990

✨Lindy Grant and Richard Mortimer (eds.), Westminster Abbey: The Cosmati Pavements, 2002

✨Peter Draper, The Formation of English Gothic: Architecture and Identity, 2006

✨Paul Crossley, ‘English Gothic Architecture’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨James H. Beck, Masaccio: The Documents, 1978 ✨R. A. Donkin, Beyond Price: Pearls and Pearl-Fishing: Origins to the Age of Discoveries, 1998

✨Nanette Salomon, ‘From Sexuality to Civility: Vermeer’s Women’, National Gallery of Art, Studies in the History of Art, 1998

✨Irene Cieraad, ‘Rocking the Cradle of Dutch Domesticity: A Radical Reinterpretation of Seventeenth-Century “Homescapes” 1’, Home Cultures, 2019

✨Walter D. Mignolo, ‘Delinking: The rhetoric of modernity, the logic of colonility and the grammar of de-coloniality’ in culture studies (2000)

✨H. Perry Chapman, ‘Women in Vermeer’s home: Mimesis and ideation’, Nederlands Kunsthistorisch Jaarboek,2000

✨Christopher Wilson, ‘The English Response to French Gothic Architecture, c. 1200-1350’, in Jonathan Alexander and Paul Binski (eds.), Age of Chivalry: Art in Plantagenet England, 1200-1400, 1987

✨Johann Joachim Wicklemann (1717 - 1768) from Reflections on the Imitation of Greek Works in Painting and Sculpture

✨Antonie Cotpel (1661-1722) on the grand manner, from 'On the Aesthetic of the Painter'

✨Andre Felibien (1619-1695) Preface to Seven Conferences

✨Charles Le Burn (1619-1690) 'First Confrence'

✨Various Authors (Reviews) on Manet's Olympia

✨Zionism and its Religious Critics in fin-de-siecle Vienna, Robert S. Wistrich, 1996

✨Sex, Lies and Decoation: Adolf Loos and Gustav Klimt, Beatriz Colomina, 2010

✨Women Writers and Artists in Fin-de-Siecle Vienna, Helga H. Harriman, 1993

✨Fashion and Feminism in "Fin de Siecle" Vienna, Mary L. Wagner, 1989-1990

✨5 Eros and Thanatos in Fin-de-Siecle Vienna, Sigmund Freud, Otto Weininger, Arthur Schitzler, 2016

✨Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele, Reinhold Heller, 1977

✨Maternity and Sexulaity in the 1890s, Wendy Slatkin, 1980

✨Andre Breton (1896 - 1957) and Leon Trotsky (1879 - 1940) 'Towards a Free Revolutionary Art'

✨Sergei Tretyakov (1892 - 1939) 'We Are Searching' and 'We Raise the Alarm'

✨George Grosz (1893 - 1959) and Weiland Herzfeld (1896 - 1988) 'Art is in Danger'

✨Paul Gaugin (1848 - 1903) from three letters written before leaving for Polynesia

✨Siegfried Kracauer (1889 - 1966) from 'The Mass Ornament'

✨Victor Fournel (1829 - 1894) 'The Art of Flanerie'

✨Various Author's (Reviews) on Mante's Olympia

✨Rosalind Krauss (b. 1940) 'A View of Modernism'

✨Clement Greenberg (1909 - 1994) 'Modernist Painting'

✨Clive Bell (1881 - 1964) 'The Aesthetic Hypothesis'

✨Catherine Grant and Dorothy Price, 'Decolonizing Art History', Art History 43:1 (2020), pp.8-66.

✨Terry Smith (b. 1944) from 'What Is Contemporary Art?'

✨Geeta Kapur (b. 1943) 'Contemporary Cultural Practice: Some Polemical Categories'

✨Chin-Tao Wu 'Biennials Without Borders?'

✨Edouard Glissant (1928 - 2011) 'Creolisation and the Americas'

✨Rasheed Araeen (b. 1935) 'Why Third Text?'

✨Lisa G. Corrin, Mining the Museum: An Installation Confronting History, 1992

✨Fred Wilson, Mining the Museum, 1992

✨Tonny Bennett, The Birth of the Museum, 1995

✨Marina Tyquiengco, Book Review: Metabolic Museum, 2021

✨Hanna Daisy Foster, What is a Metabolic Museum? 2022 - 23

✨Anna Tihanyi, The Museum as a Body, Review: Metabolic Museum, 2022

✨A > Art in A to Z, Jens Hoffman, 2014