You are not currently logged in.
Access JSTOR through your library or other institution:
If You Use a Screen ReaderThis content is available through Read Online (Free) program, which relies on page scans. Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Gombrich on Art Historical Explanations
Vol. 16, No. 2 (Spring, 1983), pp. 91-96
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/1574792
Page Count: 6
You can always find the topics here!Topics: Modern art, Cognitive space, Modernist art, Cubism, Narrative art, Abstract art, Symbolism, Renaissance art, Naturalism, Historicism
Were these topics helpful?See something inaccurate? Let us know!
Select the topics that are inaccurate.
Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Preview not available
This article outlines the major themes of Gombrich's account of art historical explanations, and contrasts his to several other well known contemporary approaches. An analysis of his concept of 'schemata' is used to explain his move in "Art and Illusion" from consideration of art telling stories to naturalistic art. Using his contrast between the meaning and significance of a picture, the difference between his approach and the historicist writings of Leo Steinberg and Clement Greenberg is presented. Gombrich is mistaken, it is argued, to imply--as he seems to do--that such historicist accounts necessarily lead to the total abandonment of objective standards of critical judgment. In fact, those accounts explicitly presuppose something like his notion of a canon, an ongoing tradition of art making. Finally, his critique of abstract art is interpreted in relation to the contemporary cultural conditions to which his work is one very important response.
Leonardo © 1983 Leonardo