作者:
E. H. Gombrich 出版社: Princeton University Press 副标题: A Study in the Psychology of Pictorial Representation 出版年: 2000-12-15 页数: 512 定价: USD 42.00 装帧: Paperback ISBN: 9780691070001
Considered 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 o...
Considered 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.
E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London, 1959-1976. He was born in 1909 in Vienna, where he studied the history of art under Julius von Schlosser and classical archaeology under Emanuel Loewy. He has been Slade Professor of Fine Art at both Oxford and Cambridge, Visiting Professor a...
E. H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London, 1959-1976. He was born in 1909 in Vienna, where he studied the history of art under Julius von Schlosser and classical archaeology under Emanuel Loewy. He has been Slade Professor of Fine Art at both Oxford and Cambridge, Visiting Professor at Harvard, Spencer Trask Lecturer at Princeton, and Walker Ames Professor at the University of Washington. His best-known book, The Story of Art (1950) has been translated into 29 languages.
The Greeks said that to marvel is the beginning of knowledge and where we cease to marvel we may be in danger of ceasing to know. 借过来的书被翻了无数次俨然已成一大本虫卵让人常常想快速翻页= =好复杂高深无法尽懂。。就当是了解了一些画，补充了一些艺术史。。。精神就是，...The Greeks said that to marvel is the beginning of knowledge and where we cease to marvel we may be in danger of ceasing to know. 借过来的书被翻了无数次俨然已成一大本虫卵让人常常想快速翻页= =好复杂高深无法尽懂。。就当是了解了一些画，补充了一些艺术史。。。精神就是，勇于探索不同领域间的联系(展开)
一、 贡布里希与《艺术与错觉》： 1.贡布里希 恩斯特·汉斯·约瑟夫·贡布里希（1909-2001，Ernst Hans Josef Gombrich）是英国艺术史学家和艺术理论家。其研究范围十分广泛，涉猎艺术史、文化史、造型艺术、音乐、电影、心理学、大众传播学等众多领域。他早年就读于维也纳大学...
(展开)
艺术史学家在将一件艺术品载入历史前，通常会先密切关注它的内在逻辑。早期（Earlier）、后期（later）、近期（latest），这是基本的历史结构。马萨乔（Masaccio，1401-28，“人文主义之父”）的绘画艺术是建立在对乔托（Giotto di Bondone，1266-1337，“欧洲绘画之父”）的深...
(展开)
![[英国] 恩斯特·贡布里希](https://img3.doubanio.com/img/author/medium/public/1539442088.87.jpg)
恩斯特·贡布里希 作者
unidolphie
广西美术出版社2012版
momo
广西美术出版社2012版
鄭巨源
Phaidon Press2004版
ABAGo快乐大胖
M.
广西美术出版社2012版
0 有用 MrMs.PL 2014-08-09 17:05:10
The Greeks said that to marvel is the beginning of knowledge and where we cease to marvel we may be in danger of ceasing to know. 借过来的书被翻了无数次俨然已成一大本虫卵让人常常想快速翻页= =好复杂高深无法尽懂。。就当是了解了一些画，补充了一些艺术史。。。精神就是，... The Greeks said that to marvel is the beginning of knowledge and where we cease to marvel we may be in danger of ceasing to know. 借过来的书被翻了无数次俨然已成一大本虫卵让人常常想快速翻页= =好复杂高深无法尽懂。。就当是了解了一些画，补充了一些艺术史。。。精神就是，勇于探索不同领域间的联系 (展开)
1 有用 Blue Jaguar 2013-07-02 21:07:36
really illuminating book on the origin and evolution of art
0 有用 老鱼头 2017-12-21 16:19:53
Gombrich真的已经很友好了！理论也已经是很make sense的了！虽然我还是不信。。
0 有用 豆友103300724 2014-10-26 11:39:11
the analysis of vision in art，重要，读全书
0 有用 arale 2016-10-27 14:52:15
艺术的历史，在于锻造出能够打开感官之锁的钥匙。
0 有用 陈美芳˙Ꙫ˙ 2021-03-21 13:39:15
贡布里希认为，没有“纯真之眼“，在创作之前，艺术家的预成图式已经内化为其艺术视知觉，然后通过预成图式的投射和修正进行创作。“图式代表那首次近似的、松散的类目，这个类目逐渐加紧以适合那些复现出来的形状。”不同的艺术家或不同个性的艺术家使用不同的媒介，所画出来的同一地方的风景画是完全不同的，甚至还具有很大的差异，这主要是因为他们受不同的“已有经验”或预成图式的影响。不同的民族文化差异和民族审美心理所形... 贡布里希认为，没有“纯真之眼“，在创作之前，艺术家的预成图式已经内化为其艺术视知觉，然后通过预成图式的投射和修正进行创作。“图式代表那首次近似的、松散的类目，这个类目逐渐加紧以适合那些复现出来的形状。”不同的艺术家或不同个性的艺术家使用不同的媒介，所画出来的同一地方的风景画是完全不同的，甚至还具有很大的差异，这主要是因为他们受不同的“已有经验”或预成图式的影响。不同的民族文化差异和民族审美心理所形成的不同艺术词汇或艺术预成图式，也会影响艺术家面对同一母题做出不同选择。艺术的时代风格、艺术的传统和创新、艺术的技术进步及艺术所要达到的功能、艺术的效果都对艺术家的创作具有深刻的影响。“预成图式内化为视知觉”，大自然之所以变得“如画”，是因为我们已经养成用绘画的眼光去观看大自然，去寻找如画的母题。 (展开)
0 有用 ABAGo快乐大胖 2021-03-03 23:33:18
人类具象化表达技巧是如何逐步提升
1 有用 L 2020-09-20 23:14:57
perception
0 有用 felsina 2020-06-05 13:38:47
能搭出这样整体性的理论框架，而且如此跨学科，在那个时候的确是超前的，但同时各种论证的走向充斥着冷战时期的思维痕迹和文化经验，也因此不得不一定程度的存疑，最出彩、最有启发的反而还是第四部分，或许也是贡氏对波普尔科学哲学理论化用得最到位而不刻意的部分。
0 有用 backyard’ulu 2018-02-15 10:52:52
喜欢intro语言里的耿直和顽皮～ 正文论点清晰但论据太有跳跃性！ a structuralist for sure!!!