具体描述
From Library Journal
Gombrich, the author of three of the most influential works of art history written this century?The Story of Art (1950), Art and Illusion (1960), and The Sense of Order (1979)?is one of a handful of art scholars whose works range across the entire history of art and have had an impact on a number of disciplines. Though the above works are well represented in this collection, editor Woodfield has drawn from the whole of Gombrich's career to include autobiographical sketches, a tribute to the poet and literary scholar I.A. Richards, meditations on Goethe and Schubert, and a delightful essay on the humorous drawings of Saul Steinberg. Gombrich's forays into social history make this work useful for multidisciplinary collections. A comprehensive bibliography of Gombrich's works is included. Highly recommended for public and academic libraries that do not already own his three major works.?Martin R. Kalfatovic, Smithsonian Inst. Libs., Arlington, Va.
Copyright 1996 Reed Business Information, Inc.
作者简介
Amazon.com Review
To the extent that any art historian becomes "famous," Sir Ernst Gombrich is the most famous art historian in the world. He is the author of the seminal work The Story of Art, a staunch champion of the traditional canon, and a perceptive analyst of artistry and illusion. This massive collection includes essays, excerpts from the groundbreaking Art and Illusion, autobiographical notes, and reflections on artists from Raphael to Saul Steinberg. Gombrich is not a modernist, and he has been criticized for his misunderstanding of abstract painting; but his conceptions of art encompass modern psychology and history, the study of gesture and ornament, and the social history of art. Above all, Gombrich stands against sweeping generalizations, maintaining that works of art "are not the results of some mysterious activity, but objects made by human beings for human beings."
目录信息
Introduction, Richard Woodfield 9
Principal Works of E. H. Gombrich 18
An Autobiographical Sketch 21
Old Masters and Other Household Gods 37
The Visual Image: its Place in Communication 41
On Art and Artists 65
Psychology and the Riddle of Style 83
Truth and the Stereotype 89
Action and Expression in Western Art 113
Illusion and Art 139
The Use of Colour and its Effect: the How and the Why (Radio interview, 1992), Bridget Riley 161
The Necessity of Tradition: an Interpretation of the Poetics of I. A. Richards 169
Verbal Wit as a Paradigm of Art: the Aesthetic Theories of Sigmund Freud 189
Leonardo's Method for Working out Compositions 211
The Force of Habit 223
The Psychology of Styles 257
The Primitive and its Value in Art 295
Magic, Myth and Metaphor: Reflections on Pictorial Satire 331
Approaches to the History of Art: Three Points for Discussion 355
The Social History of Art 369
In Search of Cultural History 381
Architecture and Rhetoric in Giulio Romano's Palazzo del Te 401
From the Revival of Letters to the Reform of the Arts: Niccolo Niccoli and Filippo Brunelleschi 411
The Use of Art for the Study of Symbols 437
Aims and Limits of Iconology 457
Raphael's Stanza della Segnatura and the Nature of its Symbolism 485
The Subject of Poussin's Orion 515
Dutch Genre Painting 521
Imagery and Art in the Romantic Period 529
The Wit of Saul Steinberg 539
Franz Schubert and the Vienna of his Time (Address celebrating the 150th anniversary of the composer's death, 1978) 547
Nature and Art as Needs of the Mind: the Philanthropic Ideals of Lord Leverhulme 565
Goethe: the Mediator of Classical Values (Speech delivered on receiving the Goethe Prize, 1994) 585
Notes 591
Index 615
· · · · · · (收起)
读后感
评分
评分
评分
评分
用户评价
我最近迷上了对印象派画家们的探究，这本书里对莫奈、雷诺阿以及德加的论述，简直是教科书级别的精彩。它不仅仅是简单地罗列了他们的代表作，而是深入挖掘了他们创作背后的哲学动因。比如，书中详细阐述了19世纪巴黎城市化进程对这些艺术家观察世界方式的根本性影响——他们如何从画室的束缚中解放出来，转而捕捉稍纵即逝的光影和日常生活的瞬间。我特别欣赏作者处理“主观性”这一概念的方式。他没有简单地将印象派定性为“未完成的草稿”，而是将其视为一种对视觉经验的诚实记录，一种对现代性焦虑的回应。书中对色彩理论的阐释也极其到位，那种对颜料并置而非混合的探索，如何从根本上改变了画布上的视觉体验，作者用精准的语言描述了这一革命。读完相关章节，再去重温《日出·印象》或者《煎饼磨坊的舞会》，你会发现自己看到的东西完全不一样了，里面蕴含着时代的脉搏和对瞬间的极度珍视。这种洞察力，远非一般艺术史读物所能企及。
评分我对现代艺术的部分略感遗憾，但这或许是因为我对立体主义和抽象表现主义的理解尚浅。不过，即便是在处理这些相对“陌生的”艺术运动时，作者依然保持了极高的可读性。他没有用晦涩难懂的理论术语来故作高深，而是侧重于解释艺术家们是如何“看待”世界的。对于毕加索对三维空间的解构，书中描绘得非常生动，好像在告诉你，艺术家们是如何有意识地打破观众习以为常的观看习惯。对我而言，这本书最大的价值在于，它提供了一种“工具箱”，一套看待图像和符号的有效方法论，而不是简单地灌输知识点。它教会我，艺术史不是一系列孤立事件的流水账，而是人类精神不断探索、修正和自我表达的连续过程。读完后，我感觉自己看世界的眼光都变得更加敏锐和富有层次感了，能从日常生活中随处可见的视觉信息中，挖掘出更深层次的文化意涵。
评分这本书的结构安排非常巧妙，它并非严格按照时间顺序线性铺陈，而是在不同的历史节点上进行主题式的跳跃和交叉参照，这种编排方式极大地增强了阅读的趣味性和思考的深度。例如，它会将文艺复兴早期对人体解剖学的痴迷，与古希腊雕塑对理想化人体的追求进行跨越千年的对话，这种对比式的叙述，立刻凸显了“回归”与“超越”的主题。我发现作者非常擅长捕捉艺术史中的“断裂点”——那些真正具有颠覆性的时刻。比如达达主义和超现实主义的兴起，作者并没有把它简单地看作是政治动荡的附带产物，而是将其置于西方理性主义发展到了极致后必然产生的反思和反叛的大背景下去考察。这种宏观的视野和对历史复杂性的尊重，使得整本书读起来既有历史的厚重感，又不失对当代艺术思潮的启发性，让人忍不住停下来思考我们今天所处的文化位置。
评分这本关于西方艺术史的巨著，简直是打开了我认知世界的一扇窗。我一直对文艺复兴时期的佛罗伦萨画派情有独钟，这本书的叙述方式非常生动，作者仿佛带着你亲自走进了那些古老的画廊和作坊。他对于不同时期艺术风格的演变，尤其是从古典主义到巴洛克风格的过渡，分析得极为透彻。举个例子，他对卡拉瓦乔光影手法的解读，那种戏剧性的光线对比如何服务于宗教叙事，简直让人拍案叫绝。我以前看画展总觉得有些索然无味，因为缺乏背景知识，但读了这本书后，再去欣赏那些作品，脑海中会立刻浮现出当时的社会环境、赞助人的需求，以及艺术家们在技法上的创新与挣扎。这种深度的连接感，让艺术不再是冰冷的图像，而是鲜活的历史切片。尤其是关于透视法的发明及其对空间感重塑的章节，写得尤为精彩，那种数学上的精确与美学的直觉是如何完美结合的，展现得淋漓尽致。作者的文字功底极高，既有学术的严谨，又不失文学的韵味，读起来完全没有传统艺术史书籍那种枯燥乏味的感觉。
评分作为一名业余的建筑爱好者，我对书中关于哥特式大教堂结构力学的分析篇章印象极为深刻。作者以一种极其清晰的逻辑，将复杂的大跨度拱顶、飞扶壁（flying buttress）这些工程奇迹，用非工程师也能理解的语言解释了出来。他不仅仅是描述了这些建筑是如何建造的，更重要的是，阐述了它们在精神层面上的意义——那种向上攀升、追求无限的宗教狂热是如何被物化在石材和彩绘玻璃中的。书中的配图和图解，尽管是静态的，却能让人在脑海中构建起三维的模型，仿佛能听到中世纪工匠们敲击石头的回响。尤其是在对比罗马式厚重坚实的风格与哥特式轻盈通透的对比时，作者的笔触显得尤其有力，他成功地将建筑从纯粹的功能性对象，提升到了文化和信仰的载体这一高度。这种对“形式服从功能，功能服务于精神”的深刻洞察，让我对欧洲中世纪的艺术成就有了全新的敬畏之情。
评分 评分 评分 评分 评分相关图书
本站所有内容均为互联网搜索引擎提供的公开搜索信息，本站不存储任何数据与内容，任何内容与数据均与本站无关，如有需要请联系相关搜索引擎包括但不限于百度，google,bing,sogou 等
© 2026 qciss.net All Rights Reserved. 小哈图书下载中心 版权所有