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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.

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."

Foreword, E. H. Gombrich 7
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
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