E. H. Gombrich

An illustrated introduction to art appreciation with a survey of the major art periods and styles and descriptions of the work and world of the masters.

The Story of Art - 16th Edition

Presents a brief, narrative history of the world for young readers, from the Stone Age up to the end of World War II.

A Little History of the World

Pocket Edition

Story of Art, The

Esta Breve historia del mundo no es un manual al uso. Se trata de una epístola-diálogo escrita en un tono llano y accesible, sin los formalismos y las rigideces de los textos académicos, pero sin el barniz de aparente pedagogía y ñoñez que da una voz de falsete a tantos libros infantiles y juveniles. La perspectiva y el género elegidos por Gombrich convierten su libro en el antecesor moderno de otros tratados, como El mundo de Sofía de Jostein Gaarder o Ética para Amador de Fernando Savater, dirigidos en apariencia a jóvenes pero que tocan cuestiones de hondo calado en el campo de las humanidades. Así pues, nos encontramos ante una obra modernísima y de plena vigencia, de perspectiva amplia y profunda, que por su optimismo, su amenidad, su generosa humanidad y su sensibilidad se lee como una novela.

Breve Historia del Mundo

Historia del Arte

A Study in the Psychology of Decorative Art (The Wrightsman Lectures, V. 9)

The Sense of Order

Max Black

Julian Hochberg

Explores questions relating to the nature of representation in art. It asks how we recognize likeness in caricatures or portraits, for instance, and presents the conflicting arguments and opinions of an art historian, a psychologist and a philosopher.

Art, Perception, and Reality

Sanatin Öyküsü. Translated by Erol Erduran, Ömer Erduran.

Düsen Gölgenin Bati Sanatinda Tasviri

Gölgeler Ciltli

Cep Boy

Sanatin Öyküsü

In this intriguing book, E.H. Gombrich, who was one of the world’s foremost art historians, traces how cast shadows have been depicted in Western art through the centuries. Gombrich discusses the way shadows were represented—or ignored—by artists from the Renaissance to the 17th century and then describes how Romantic, Impressionist, and Surrealist artists exploited the device of the cast shadow to enhance the illusion of realism or drama in their representations. First published to accompany an exhibition at the National Gallery, London, in 1995, it is reissued here with additional color illustrations and a new introduction by esteemed scholar Nicholas Penny. It is also now available as an enhanced eBook, with zoomable images and accompanying film footage.

The Depiction of Cast Shadows in Western Art, New Edition

Shadows

The Story of Art

Karl R. Popper

One of the most important books of the twentieth century, Karl Popper's The Open Society and Its Enemies is an uncompromising defense of liberal democracy and a powerful attack on the intellectual origins of totalitarianism. Popper was born in 1902 to a Viennese family of Jewish origin. He taught in Austria until 1937, when he emigrated to New Zealand in anticipation of the Nazi annexation of Austria the following year, and he settled in England in 1949. Before the annexation, Popper had written mainly about the philosophy of science, but from 1938 until the end of the Second World War he focused his energies on political philosophy, seeking to diagnose the intellectual origins of German and Soviet totalitarianism. The Open Society and Its Enemies was the result. An immediate sensation when it was first published in two volumes in 1945, Popper's monumental achievement has attained legendary status on both the Left and Right and is credited with inspiring anticommunist dissidents during the Cold War. Arguing that the spirit of free, critical inquiry that governs scientific investigation should also apply to politics, Popper traces the roots of an opposite, authoritarian tendency to a tradition represented by Plato, Marx, and Hegel. In a substantial new introduction written for this edition, acclaimed political philosopher Alan Ryan puts Popper's landmark work in biographical, intellectual, and historical context. Also included is a personal essay by eminent art historian E. H. Gombrich, in which he recounts the story of the book's eventual publication despite numerous rejections and wartime deprivations.

The Open Society and Its Enemies

A cornerstone of art history - in a compact yet readable format and with a new preface by the author's granddaughter

A groundbreaking account of perception and art, from one of the twentieth century’s most important art historians E. H. Gombrich is widely considered to be one of the most influential art historians of the twentieth century, and Art and Illusion is generally agreed to be his most important book. Bridging science and the humanities, this classic work examines the history and psychology of pictorial representation in light of modern theories of information and learning in visual perception. Searching for a rational explanation of the changing styles of art, Gombrich reexamines ideas about the imitation of nature and the function of tradition. In testing his arguments, he ranges over the history of art, from the ancient Greeks, Leonardo, and Rembrandt to the impressionists and the cubists. But the triumphant originality of Art and Illusion is that Gombrich is less concerned with the artists than with the psychological experience of the viewers of their work. Please note: All images in this ebook are presented in black and white.

A Study in the Psychology of Pictorial Representation - Millennium Edition

Art and Illusion

A Historia da arte

A história da arte

Cast shadows have been exploited in art to enhance the impression of the surrounding light as well as that of the solidity of the casting objects. They can contribute to the mood of the scene, and can reveal the presence of features outside the space represented, but as Professor Gombrich points out, they appear only sporadicaly and have been more frequently ignored or suppressed in Western art. Gombrich touches on the ambiguous nature of shadows in myth, legend, and philosophy, and briefly analyses the factors governing their shape: the location and form of the light source, the shape of the illuminated object and that of the surface on which the shadow falls, and the position of the viewer. Early Renaissance painters such as Masaccio and Campin, intent on a faithful rendering of visual reality, did incorporate shadows in their art, but artists of Leonardo's time largely avoided painting them, and it was not until early in the seventeenth century that painters - particualrly Caravaggio and Rembrandt - were again interested in the effects of shadows. In subsequent centuries artists of the Romantic, Impressionist and Surrealist movements exploited the device of the cast shadow to enhance the realism or drama of their images.

E. H. Gombrich

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