New Format and Redesign of the World's Best Selling Art Book
"Gombrich (1909-2001) had a gift for clear, conversational language, a narrative approach, and an interest in pop culture--he even included mass media and cartoons in The Story of Art. The book, which receives high praise in the CAA report [a recent assessment of art history textbooks by the College A...
New Format and Redesign of the World's Best Selling Art Book
"Gombrich (1909-2001) had a gift for clear, conversational language, a narrative approach, and an interest in pop culture--he even included mass media and cartoons in The Story of Art. The book, which receives high praise in the CAA report [a recent assessment of art history textbooks by the College Art Association], is today the world's best selling art history textbook, with total sales of 8 million copies." -Art News, February 2006
E.H. Gombrich's warm, lively, opinionated--yet never patronizing--authorial voice brings history to life in a way that attracts both adults and young readers alike. Last year the first English translation of A Little History of the World, originally written in 1935 in German, was a surprise publishing success. Yet, this isn't even Gombrich's most popular work. The Story of Art has sold over 8 million copies, has been translated into more than 30 languages and served as the standard introduction to art history for students around the world for the past century. Now, the book will be available in a new affordable format, in wide release for the general public, just in time for the holidays.
Phaidon Press is pleased to announce the publication of THE STORY OF ART: POCKET EDITION by E.H. Gombrich, a re-designed, re-formatted compact edition of one of the best-known and best-loved books on art ever written. This new edition combines smoothly flowing text with a clear, simple design in a convenient and accessible format. The new edition allows this classic work to continue its triumphant progress for another generation, and to remain the first choice for all newcomers to art.
Phaidon Press commissioned Gombrich during World War II to write a history of art for young people. In 1950, The Story of Art was published and so a classic was born. Gombrich dictated the whole text from memory, using illustrations from books in his library as prompts. The outcome was a seminal work of criticism and one of the most accessible introductions to the visual arts. Starting with the cave paintings at Lascaux and stretching as far as Postmodernism, the whole of art history is presented as a chronological narrative. Using vivid imagery, storytelling and sly humor, Gombrich's voice draws in all--the student, connoisseur, or amateur.
The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle. The pocket edition is no exception. With this new edition this classic work is now as accessible as the story inside. Gombrich's extraordinary knowledge and wisdom will continue to teach and inspire generation after generation.
From Library Journal
Phaidon Press has produced a much-improved edition of Sir Ernst Gombrich's classic narrative study of art history, which was first published in 1950. Among the many competing introductory texts?the central monuments of which are H.W. Janson's History of Art (Prentice, 1986. 4th. ed.) and Helen Gardner's Art Through the Ages (4th ed. o.p.)?Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible enthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. While much of the text is unchanged, the format has been completely redesigned with vastly expanded illustrations, improved captions, better charts and an excellent index. This book belongs on every art-lover's bedside table, and even those libraries owning an earlier edition would not regret adding this refinement of an already first-rate work.
Douglas F. Smith, Oakland P.L., Cal.
From Booklist
Gombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. Now in its 16th edition and available for the first time in paperback, this comprehensive look at Western art from prehistoric times on up to the present has been completely redesigned and extensively revised and updated. In addition, the illustrations have all been enhanced, and a total of 443 are now in color. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art "as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future." Gombrich's invaluable history is a veritable celebration of this "living chain."
Donna Seaman
Midwest Book Review
Enjoy the most famous book on art ever published: an overview which covers the entire subject, from early cave paintings to modern experimental art. This has been revamped for the first time since 1972, offering larger illustrations, more color, and improved text and coverage. Highly recommended.
Book Dimension
length: (cm)18.5 width:(cm)10.7
作者简介
· · · · · ·
恩斯特·贡布里希爵士（Sir. Ernst Gombrich）（1909——2001）生于维也纳，并在维也纳大学攻读美术史。1936年移居英国，进入伦敦大学瓦尔堡大学。曾任牛津大学斯莱德美术讲座教授，哈佛、康奈尔等多所大学的客座教授，并于1972年被英王授封勋爵。主要学术著作有《艺术的故事》《秩序感》《象征的图像》等。贡布里希善于以简明晓畅的语言来表达严肃的题目，以便初入门者能轻松学习。
恩斯特·贡布里希爵士（Sir. Ernst Gombrich）（1909——2001）生于维也纳，并在维也纳大学攻读美术史。1936年移居英国，进入伦敦大学瓦尔堡大学。曾任牛津大学斯莱德美术讲座教授，哈佛、康奈尔等多所大学的客座教授，并于1972年被英王授封勋爵。主要学术著作有《艺术的故事》《秩序感》《象征的图像》等。贡布里希善于以简明晓畅的语言来表达严肃的题目，以便初入门者能轻松学习。
上一章最后提到塞尚、梵高和高更造成了3场运动： ...Cezanne's solution ultimately led to Cubism...Van Gogh's to Expressionism..and Gauguin's to the various forms of Primitivism.. //解释现代主义绘画的根源 But what should a painter experiment with and why can he not be content to sit down before nature and paint it to the best of his abilities?...art has lost its bearings because artists have discov...(9回应)
2019-02-13 18:591人喜欢
上一章最后提到塞尚、梵高和高更造成了3场运动：
...Cezanne's solution ultimately led to Cubism...Van Gogh's to Expressionism..and Gauguin's to the various forms of Primitivism..
//解释现代主义绘画的根源
But what should a painter experiment with and why can he not be content to sit down before nature and paint it to the best of his abilities?...art has lost its bearings because artists have discovered that the simple demandthat they should 'paint what they see' is self-contradictory...With some self-discipline and self-observation we can all find out for ourselves that what we call seeing is invariably colored and shaped by our knowledge(or belief)of what we see.. ...THE 'EGYPTIAN' IN US CAN BE SUPPRESSED,BUT HE CAN NEVER BE QUITE DEFEATED.(Egyptian代表那些画what we know而不是what we see的)
For if the 'Egyptian' or the child in us remains stubbornly there,why not face the basic facts of image-making ?..Art Nouveau had called in Japanese prints..Was it not better to begin again at the beginning and search out the art of the true 'primitives'....During the revolution in art that mounted to its climax before the First World War,and admiration of Negro sculpture was indeed one of the enthusiasms that bound together young artists of the most varied tendencies.
...African sculpture...neither that 'truth of beauty' nor that 'ideal beauty'..seemed to have troubled the minds of these craftsmen,but their works processed precisely...intense expressiveness,clarity of struture and a forthright simplicity of technique.
...
//Munch
...But the idea of a serious caricature,of an art which deliberately changed the appearance of things not to express a sense of superiority,..proved indeed a stumbling block..
The scream
..'The scream'..It aims at expressing how a sudden excitement transforms all our sense impressions.All the lines seems to lead towards the one focus of the print--the shouting head.It looks as if all the scenery shared in the anguish and excitement of that scream.The face of the shouting person is indeed distorted like that of a caricature.The staring eyes and hollow cheeks recall a death's head.Something terrible must have happened,and the print is all the more disquieting because we shall never know what the scream meant.
What upset the public about Expressionism art was,perhaps,not so much the fact that nature had been distorted as that the result led away from beauty..But Munch might have retorted that a shout of anguish is not beautiful,and that if would be insincere to look only at the pleasing side of life.FOR EXPRESSIONISM FELT SO STRONGLY ABOUT HUMAN SUFFERING,POWERTY,VIOLENCE AND PASSION,THAT THEY WERE INCLINED TO THINK THAT THE INSISTENCE ON HARMONY AND BEAUTY IN ART WAS ONLY BORN OUT OF A REFUSAL TO BE HONEST....They want wanted to face the stark faces of our existence,and to express their compassion for the disinherited and the ugly.
//Matisse
...'La Desserte'..Matisse went much further in the tranformation of the sight before him into a decorative pattern.The interplay of the wallpaper design and the fabric of the tablecloth with the objects on the table forms the main motif od the picture.Even the human figure and the landscape seen through the window have become part of this pattern,making it appear quite consistent that the woman and the trees are much simplified in their outlines and even distorted in their form to fit in the flowers of the wallpaper...There is something of the decorative effect of children's drawings in the bright colors and simple outlines of these paintings..This was his strength,but also his weakness,because he failed to show a way out fo the impasse.(哈哈反正我本来也不喜欢马蒂斯
Le Desserte
//Picasso
Picasso..and began to study primitive art...he learned how it is possible to build up an image of a face or an object out of a few very simple elements..This was something different from the simplification of the visual impression which the earlier arstists had practised....Cezanne had advised him to look at nature in terms of spheres,cones and cylinders.He presumably meant that he should always keep these basic solid shapes in mind when organizing his pictures.But Picasso and his friends decided to take this advice literally.(哈哈哈)...'Why not be consistent and accpet the fact that our real aim is rather to contruct something than to copy something?...We can..THINK OF ITS VARIOUS ASPECTS AT THE SAME TIME,some of them stand out so clearly that we feel that we can touch and handle them;other are somehow blurred'..
Violin and grapes(图反了)
The scroll and one peg are seen from the side as we imagine them when we think of a violin..the curve of the rim is greatly exaggerated...Despite this apparent jumble of disconnected froms,the picture does not really look messy.The reason is that the artist has constructed his picture out of more or less uniform parts so that the whole presents an appearance of consistency..
..there is one drawback in this method of building up the image of an objects..IT CAN BE DONE ONLY WITH MORE OR LESS FAMILIAR FORMS.That is the reason why the Cubist painters usually chose familiar motifs...Critics considered it an insult to their intelligence to be expected to believe that a violin 'looks like that'(哈哈哈)...The artist..invited them(cirtics) to share him in his sophisticated game of building up the idea of a tangible solid object out of THE FEW FLAT FRAGMENTS on his canvas.
//Primitive
Recumbent figure by Henry Moore
...the modern artists want to create things.The stress is on create and on things.He wants to feel that he was made something which had no existence before.Not just a copy of a real object..
..Henry Moore...He did not try to make a woman of stone but a stone which suggests a woman.It is this attitude which has given the artists of the 20th century a new feeling for the values of the arts of the primitives.
there were three tangible achievements of the Italian masters to which they could point. One was the discovery of scientific perspective, the second the knowledge of autonomy,--and with it the perfect rendering of the beautiful human body-- and thirdly the knowledge of the classical forms of building, which seemed to the period to stand for everything that was dignified and beautiful. It is a f...(2回应)
2019-01-27 19:001人喜欢
there were three tangible achievements of the Italian masters to which they could point. One was the discovery of scientific perspective, the second the knowledge of autonomy,--and with it the perfect rendering of the beautiful human body-- and thirdly the knowledge of the classical forms of building, which seemed to the period to stand for everything that was dignified and beautiful.
It is a fascinating spectacle to watch the reactions of various artists and traditions to the impact of this new knowledge, and to see how they asserted themselves-- or as sometimes happened, how they succumbed-- according to the strength of their character and the breadth of their vision. Architects were perhaps in the most difficult position. both the Gothic system, to which they were accustomed, and the new revival of ancient buildings are, at least in theory, utterly logical and consistent, but as different from each other in aim and spirit as two styles could possibly be.
建筑师会借用一些细节，但是画家不满足于borrowing a figure or a gesture from an Italian engraving which had come their way.Any real artist was bound to feel the urge thoroughly to understand the new principles of art and to make up his mind about their usefulness.丢勒就是其中的翘楚。
....
Gruenewald’s work may thus remind us once more that an artist can be very great indeed without being progressive, because the greatness of art does not lie in new discoveries. That Gruenewald was familiar with these discoveries he showed plainly enough whenever they helped him to express what he wanted to convey.And just as he used his brush to depict the dead and tormented body of Christ, he used it on another panel to convey its Transfiguration at the resurrection into an unearthly apparition of heavenly light.
Grünewald-The Resurrection
It is difficult to describe this picture because ,once more ,so much depends on its colors. It seems as if Christ has just soared out of the grave, leaving a trail of radiant light-- the shroud in which the body has been swathed reflecting the colored rays of the halo.... there is a poignant contrast between the risen Christ, who is hovering over the scene, and the helpless Jester's of the soldiers on the ground, who are dazzled and overwhelmed by this sudden apparition of light. we feel the violence of the shock in the way in which they writhe in their armor. As we cannot access the distance between foreground and background, the two soldiers behind the grave look like puppets who have tumbled over, and their distorted shapes only serve to throw into relief the serene and majestic calm of the transfigured body of Christ.
It was here that the main difficulties arose, because the very mphasis on the greatness of the masters of the past, which was favoured by the academies, made patrons inclined to buy old masters rather than to commission paintings from the living. As a remedy, the academies, first in Paris, then in London, began to arrange annual exhibitions of the works of their members. We may find it hard to ...
2020-05-22 22:01
It was here that the main difficulties arose, because the very mphasis on the greatness of the masters of the past, which was favoured by the academies, made patrons inclined to buy old masters rather than to commission paintings from the living. As a remedy, the academies, first in Paris, then in London, began to arrange annual exhibitions of the works of their members. We may find it hard to realize what a momentous change this was, since we are so used to the idea of artists painting and sculptors modelling their work mainly with the idea of sending it to an exhibition to attract the attention of art critics and to find buyers. These annual exhibitions became social events that formed the topic of conversation in polite society, and made and unmade reputations. Instead of working for individual patrons whose wishes they understood, or for the general public, whose taste they could gauge, artists had now to work for success in a
show where there was always a danger of the spectacular and pretentious outshining the simple and sincere.引自第366页The temptation was indeed great for artists to attract attention by selecting
melodramatic subjects for their paintings, and by relying on size and loud colour effects to impress the public. Thus it is
not surprising that some artists despised the "offcial” art of the academies, and that the clash of opinions, between those whose gifts allowed them to appeal to the public taste and those who found themselves excluded, threatened to destroy the common ground on which all art had so far developed.引自第366页
"Each generation is at some point in revolt against the standards of its fathers; each work of art derives its appeal to contemporaries not only from what it does but also from what it leaves undone."
2019-04-06 23:25
"Each generation is at some point in revolt against the standards of its fathers; each work of art derives its appeal to contemporaries not only from what it does but also from what it leaves undone."
It is not their standard of craftsmanship which is different from ours, but their ideas. It is important to realize this from the outset, because the whole sotry of art is not a story of progress in technical proficiency, but a story of changing ideas and requirements.
2019-04-08 00:05
It is not their standard of craftsmanship which is different from ours, but their ideas. It is important to realize this from the outset, because the whole sotry of art is not a story of progress in technical proficiency, but a story of changing ideas and requirements.引自 Prehistoric and primitive peoples; Ancient America
It was here that the main difficulties arose, because the very mphasis on the greatness of the masters of the past, which was favoured by the academies, made patrons inclined to buy old masters rather than to commission paintings from the living. As a remedy, the academies, first in Paris, then in London, began to arrange annual exhibitions of the works of their members. We may find it hard to ...
2020-05-22 22:01
It was here that the main difficulties arose, because the very mphasis on the greatness of the masters of the past, which was favoured by the academies, made patrons inclined to buy old masters rather than to commission paintings from the living. As a remedy, the academies, first in Paris, then in London, began to arrange annual exhibitions of the works of their members. We may find it hard to realize what a momentous change this was, since we are so used to the idea of artists painting and sculptors modelling their work mainly with the idea of sending it to an exhibition to attract the attention of art critics and to find buyers. These annual exhibitions became social events that formed the topic of conversation in polite society, and made and unmade reputations. Instead of working for individual patrons whose wishes they understood, or for the general public, whose taste they could gauge, artists had now to work for success in a
show where there was always a danger of the spectacular and pretentious outshining the simple and sincere.引自第366页The temptation was indeed great for artists to attract attention by selecting
melodramatic subjects for their paintings, and by relying on size and loud colour effects to impress the public. Thus it is
not surprising that some artists despised the "offcial” art of the academies, and that the clash of opinions, between those whose gifts allowed them to appeal to the public taste and those who found themselves excluded, threatened to destroy the common ground on which all art had so far developed.引自第366页
We know that there is nothing undignified in any kind of handiwork and that, moreover, it needs more than a good eye and a sure hand to paint a good portrait or landscape. But every period and every society has its own prejudices in matters of art and of taste - ours, of course, not excluded. Indeed, what makes it so interesting to examine these ideas, which highly intelligent people in the pas...
2020-05-21 11:30
We know that there is nothing undignified in any kind of handiwork and that, moreover, it needs more than a good eye and a sure hand to paint a good portrait or landscape. But every period and every society has its own prejudices in matters of art and of taste - ours, of course, not excluded. Indeed, what makes it so interesting to examine these ideas, which highly intelligent people in the past took so much for granted, is precisely that we learn in this way also to examine ourselves.引自第354页
It is a fair guess to say that any work which excels in the representation of the beautiful surface ofthings, of Aowers, jewels or fabric, will be by northern artist most probably by an artist from the Netherlands; while a painting with bold outlines, clear perspective and a sure mastery of the beautiful human body, will be Italian.
2020-05-08 15:29
It is a fair guess to say that any work which excels in the representation of the beautiful surface ofthings, of Aowers, jewels or fabric, will be by northern artist most probably by an artist from the Netherlands; while a painting with bold outlines, clear perspective and a sure mastery of the beautiful human body, will be Italian.引自第178页
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0 有用 kiidchen 2017-02-08
想再回到四年前的惠特尼博物馆跟喜欢的人聊聊天儿。
6 有用 dooling 2012-01-10
封面能再好看些吗？
0 有用 孬爷爷و 2014-11-02
一个轮回。
3 有用 [已注销] 2015-06-20
A piece of art itself
0 有用 上厕所 2012-06-12
这个版本非常好！
0 有用 小旨子 2020-08-16
整本書從內到外都幾乎無可挑剔。the story of changing ideas and requirements. 本以為我會對古典藝術更興趣一點，但讀完後發現似乎當代藝術也很合我意，算是一個意外收穫。還有建築藝術也想了解多一點。作為一本入門又淺白的藝術史書，無疑是使命必達了。
0 有用 3/4-Christin 2020-08-04
感谢贡氏，让我又被启蒙了一次。“没有艺术这回事，只有艺术家而已。”不论作为艺术家、艺术爱好者、艺术批评家或是观众，都在共同缔造和谱写同一个故事。在第一章看完之后，我曾在书页之间写下了关于艺术的“本质”、“真”、“价值”、“原则”等等的问题。在阅读的过程中，也逐渐了解了贡氏的看法。在未来长远的艺术路上，等待我的是大量的实践和不断更新的认知。
0 有用 曾哈哈 2020-06-25
常看常新！
0 有用 饿了 2020-05-25
14年夏天柏林 艺术史的第一本书 超级好读
0 有用 JEANINE要加油 2020-05-21
如果以后真的跑去研究美术史了肯定有贡爷爷的功劳