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[ E-PUB ] ☸ Art and Illusion: A Study in the Psychology of Pictorial Representation ☣ MOBI eBook or Kindle ePUB free

Really interesting, and easy to read although a little too wordy at times Also kind of fun The book spans through the history of art, and even though the author highlights some of the major artists in each period and analyzes their art using different theories in visual psychology, he also does an in depth analysis of the viewer I was especially interested in the sections about Klee and Durer Kind of brings new insight to traditional ideas about looking at art. I cannot say enough good about this book Think of sitting down with a learned but accessible expert, someone who is both eloquent and down to earth That feeling, and the knowledge shared, is this book EH Gombrich must have been an amazing and mesmerizing lecturer I am now seeking his other classic, The Story of Art This book is for anyone, artist or not, who has ever contemplated a great painting or sculpture and wondered if art imitates life or vice versa or even found themselves curious as to the compulsion man has to create art A favorite quote p 310 , That power of holding on to an image that Ruskin describes so admirably is not the power of the eidetic it is that faculty of keeping a large number of relationships present in one s mind that distinguishes all mental achievement, be it that of the chess player, the composer, or the great artist As low key and all hail, well met as it is, this book is hard It requires attention and thought, and it pulls from every category of learning history, anthropology, science, math, language, even politics Well worth the effort. There s no way I can do this book justice in a synopsis But here goesIt s art history examined through the lens of cognitive science what we see, how we process what we see, how we engage with what we see, and how that engagement becomes a language Gombrich doesn t discuss every single art movement That book would go on forever But I really wish he had His insights are fascinating and often than not hit upon much deeper truths One of those rare instances of a book that s both enlightening and a lot of fun to read. O problema que Gombrich exp e que a arte representativa nunca deixou de ser conceptual Surge de um processo de making e matching , da mesma forma como projectamos imagens para constru es nas nuvens, assim o fazemos com quadros Da que um retrato seja mais semelhante a outro retrato do que pessoa a que refere, como o diz Nelson Goodman A conceptualidade de toda a arte n o parte de si mesma, mas do olhar o nosso olhar n o inocente, cont m configura es interpretativas determinadas por h bitos de vis o, por exemplo, quando chegamos a uma casa onde nunca estiv mos antes, a primeira impress o diferente daquela que gerada pelo h bito de l viver O que se deve fazer para educar o olhar e libert lo do h bito justamente olhar mais, aprender a particularizar, a articular e a distinguir, de modo a n o subsumir tudo a uma mesma descri o Por exemplo, em Le Mus e Imaginaire h um passo em que Andr Malraux afirma que os rascunhos de Michelangelo quase parecem pintura abstraccionista, pois, com certeza, s o rascunhos e, portanto, abstrac es que caminham em direc o particulariza o Os rascunhos de Michelangelo n o s o arte abstraccionista maneira dos abstraccionistas, s o desenhos abstractos porque o t m de ser enquanto rascunhos, mas o h bito de ver arte abstracta que projecta a vis o de Malraux.Para al m deste interessante ponto, faz se uma hist ria dos desenvolvimentos t cnicos das artes pict ricas, por exemplo, quando os gregos e os romanos introduzem a capacidade de justapor cenas na representa o, conseguindo uma ilus o de narratividade, de modo a representar as narrativas mitol gicas Estes desenvolvimentos t cnicos tendem a basear se num esquema de perdoe se a repeti o esquema e correc o cada novo desenvolvimento t cnico torna se o esquema a que posteriormente s o aplicadas correc es de modo a conseguir uma mais aperfei oada representa o do objecto em vista.Esta valsa entre o esquema e a correc o ocorre a v rios n veis do n vel t cnico geral ao n vel particular do rascunho e Gombrich ex mio a notar que os acidentes neste vai e vem geram outros esquemas, como caso da caricatura A caricatura surge do modo como as correc es no rascunho podem acidentalmente forjar uma semelhan a superior a uma que fosse deliberadamente desenhada assim se conseguem detalhes fision micos que, por acaso, conseguem uma melhor representa o de caracter sticas exageradas e com efeito c mico Outro dos problemas da caricatura era a seriedade do modelo acad mico art stico que se reportava a bustos da antiguidade cuja express o facial s mostrava impassividade, pelo que o surgimento de uma arte c mica tamb m foi postergado.Ao n vel do conhecimento produzido por Mimesis de Erich Auerbach quanto aos desenvolvimentos t cnicos na arte da literatura, mas com uma muito maior facilidade de leitura e uma perspectiva est tica muito mais terra a terra do que a filosofia ocidental tende a apresentar, demarcada pelo car cter psicol gico do estudo, o que mais justifica os meios e as teses que apresenta. [ E-PUB ] ⚈ Art and Illusion: A Study in the Psychology of Pictorial Representation ♞ Described By Kenneth Clark As One Of The Most Brilliant Books Of Art Criticism That I Have Ever Read , Art And Illusion Is A Classic Study Of Image Making It Seeks To Answer A Simple Question Why Is There Such A Thing As Style The Question May Be Simple But There Is No Easy Answer, And Professor Gombrich S Brilliant And Wide Ranging Exploration Of The History And Psychology Of Pictorial Representation Leads Him Into Countless Crucial Areas Gombrich Examines, Questions And Re Evaluates Old And New Ideas On Such Matters As The Imitation Of Nature, The Function Of Tradition, The Problem Of Abstraction, The Validity Of Perspective And The Interpretation Of Expression All Of Which Reveal That Pictorial Representation Is Far From Being A Straightforward Matter First Published Than Years Ago, Art And Illusion Has Lost None Of Its Vitality And Importance In Applying The Findings Of Experimental Science To A Nuanced Understanding Of Art And In Tackling Complex Ideas And Theoretical Issues, Gombrich Is RigorousYet He Always Retains A Sense Of Wonder At The Inexhaustible Capacity Of The Human Brain, And At The Subtlety Of The Relationships Involved In Seeing The World And In Making And Seeing Art With Profound Knowledge And His Exceptional Gift For Clear Exposition, He Advances Each Argument As An Hypothesis To Be Tested The Problems Of Representation Are Forever Fundamental To The History Of Art Art And Illusion Remains An Essential Text For Anyone Interested In Understanding The Complexities Of Art For The Sixth Edition Professor Gombrich Has Written An Entirely New Page Preface, In Which He Makes Use Of The Distinction Between An Image And A Sign, So As To Clarify His Intentions In Writing The Book In The First Place PrefacePreface to the Second EditionPreface to the Third EditionPreface to the Fourth EditionPreface to the Fifth Edition Art and Illusion RetrospectNotesList of IllustrationsIndex E H Gombrich on Art and illusion This book could be defined as art criticism It explores why there is such a thing as style and what Gombrich believes to be the extraordinarily complex riddle of style It also explores the history and psychology of pictorial representation In this book, one looks at the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression It covers theoretical issues as well as using science to find answers In this book you will also discover the limits of likeness, function and form, invention and discovery It goes into depth about a field of inquiry that extends beyond the frontiers of art to the study of perception and optical illusion Looking at mysterious ways in which shapes and marks can be made to suggest and signify other things The difference between knowing and seeing , which I would hasten to add that one should refer to Berger s ways of seeing This book looks at the visible world and the language of art in relation to it Art being a thing of the mind, it follows that any scientific study of art will be psychology Max J Friedl nder, Von Kunst Und Kennerschaft In this book one considers the question of what subjective imitations of nature tells us of truth It looks at introspection, and how this relates to one s imagination, interpretation, style and uniqueness Art moves by innovation of technique rather than increase in realism , and this book explores what tools the tradition enables the artist in order to see changes Gombrich s riddle of style is a common topic at university study for artists and writers alike, and so I would highly recommend reading this enlightening book. An erudite journey through the history of artistic representation The focus is on how artists have perceived the world and how they have strode to embody their perceptions Deeply philosophical when elaborating on the illusory nature of art It argues that the representation of the artist of the world will never match the infinite amount of information actually reaching the artist It touches on many subjects and time periods ranging from the art of Ancient Egypt to the Renaissance to Escher and Severini I highly recommend it for students of perception and illusion and the psychology behind art and how humans see the world. On every thinking person s bookshelf, or should be For Reynolds, Gainsborough s frequently unfinished and rather vague indications are little than those schemata which serve as a support for our memory images in other words, they are screens onto which the sitter s relatives and friends could project a beloved image, but which remain blank to those who cannot contribute from their own experience The role which projection plays, and is intended to play, in works of this kind could not be brought out sharply As a matter of fact by the time Reynolds wrote, the pleasure in this game of reading brushstrokes had become so popular that J E Liotard wrote his treatise on painting mainly to combat the prejudice according to which all good painting must be facile, freely painted and with fine touches He is prepared to admit that such a painting will look better from afar, but better, he thinks, is in this case only less ugly To read his polemics against the loaded brush, written as it was in 1781, one wonders why the technique of the impressionists struck the public as such a daring innovation But impressionism demanded than a reading of brushstrokes It demanded, if one may so put it, a reading across brushstrokes There were a good many painters among the fashionable virtuosos of the nineteenth century, men like Boldini and Sargent, who drew or less with a loaded brush and made the game of projecting sufficiently easy to be attractive Among the great masters, Daumier s technique is of this kind 29 , the brush following the form firmly and boldly It is the point of impressionist painting that the direction of the brushstroke is no longer an aid to the reading of forms It is without any support from structure that the beholder must mobilize his memory of the visible world and project it into the mosaic of strokes and dabs on the canvas before him It is here, therefore, that the principle of guided projection reaches its climax The image, it might be said, has no firm anchorage left on the canvas 25 it is only conjured up in our minds The willing beholder responds to the artist s suggestion because he enjoys the transformation that occurs in front of his eyes It was in this enjoyment that a new function of art emerged gradually and all but unnoticed during the period we have discussed The artist gives the beholder increasingly to do, he draws him into the magic circle of creation and allows him to experience something of the thrill of making which had once been the privilege of the artist It is the turning point which leads to those visual conundrums of twentieth century art that challenge our ingenuity and make us search our own minds for the unexpressed and inarticulate It may seem paradoxical to link impressionism with this appeal to subjectivity, for the advocates of impressionism talked otherwise Impressionism was to them the triumph of objective truth The implications of this claim will engage our attention in a subsequent chapter.