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This text is the 16th revised and updated edition of this introduction to art, from the earliest cave paintings to experimental art. Eight new artists from the modern period have been introduced. They are: Corot, Kollwitz, Nolde, de Chirico, Brancussi, Magritte, Nicolson and Morandi. A sequence of new endings have been added, and the captions are now fuller, including the This text is the 16th revised and updated edition of this introduction to art, from the earliest cave paintings to experimental art. Eight new artists from the modern period have been introduced. They are: Corot, Kollwitz, Nolde, de Chirico, Brancussi, Magritte, Nicolson and Morandi. A sequence of new endings have been added, and the captions are now fuller, including the medium and dimension of the works illustrated. Six fold-outs present selected large-scale works. They are: Van Eyck's Ghent Altarpiece, Leonardo's Last Supper, Botticelli's Birth of Venus, Jackson Pollock's One (Number 31, 1950), Van der Weyden's Descent from the Cross and Michelangelo's Sistine Chapel ceiling.


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This text is the 16th revised and updated edition of this introduction to art, from the earliest cave paintings to experimental art. Eight new artists from the modern period have been introduced. They are: Corot, Kollwitz, Nolde, de Chirico, Brancussi, Magritte, Nicolson and Morandi. A sequence of new endings have been added, and the captions are now fuller, including the This text is the 16th revised and updated edition of this introduction to art, from the earliest cave paintings to experimental art. Eight new artists from the modern period have been introduced. They are: Corot, Kollwitz, Nolde, de Chirico, Brancussi, Magritte, Nicolson and Morandi. A sequence of new endings have been added, and the captions are now fuller, including the medium and dimension of the works illustrated. Six fold-outs present selected large-scale works. They are: Van Eyck's Ghent Altarpiece, Leonardo's Last Supper, Botticelli's Birth of Venus, Jackson Pollock's One (Number 31, 1950), Van der Weyden's Descent from the Cross and Michelangelo's Sistine Chapel ceiling.

30 review for The Story of Art

  1. 4 out of 5

    Lisa

    Reflecting on my reading year 2016, I came to think of books that have meant a lot to me over the past decades, and the first one that came to my mind was Gombrich’s excellent introduction to art history. I will have to go back twenty years, half my life, to the year 1996. I am twenty years old, and just about to discover the pleasurable adventure called university. For Christmas, I receive a much longed-for gift card to buy books that “will help me in my studies”, and I stand in a bookstore, on Reflecting on my reading year 2016, I came to think of books that have meant a lot to me over the past decades, and the first one that came to my mind was Gombrich’s excellent introduction to art history. I will have to go back twenty years, half my life, to the year 1996. I am twenty years old, and just about to discover the pleasurable adventure called university. For Christmas, I receive a much longed-for gift card to buy books that “will help me in my studies”, and I stand in a bookstore, one of those exquisite, inexhaustible bookstores on several floors that German university cities provide, and I am browsing through options. I probably spend hours there. I can still feel the time pass, while I look, think, go through history, art, literature. I pick a book, then another one, and more still, until I have to bring one back. Gift card value is weighed against all these lovely, lovely possibilities. At this moment in time, I own one Billy bookshelf, and it is not filled yet, as my children’s books and classics are left at my parents’ house. What do I pick? I don’t remember the fiction, but I do remember picking a “start of the term offer”, Mayersches Taschenlexikon, in 34 volumes, rarely used, as the internet takes over soon, and it is inconvenient to look up definitions by going through entries in alphabetical order. Some time between 1996 and now, it falls victim to one of our many moves between cities and countries. I don’t have it anymore. I bought it out of duty. I choose one extravaganza: Gombrich. A German hardback copy, beautifully illustrated, taking a huge chunk of the gift card money. I start reading as soon as I come home. And almost magically, it opens up the world of art to me. I learn why Egyptians “walk like Egyptians”, I discover Rubens, Bernini, Raphael, Leonardo, and Delacroix,and Canova, Manet and Monet, and Picasso, Duchamp and, and, and... I discover the world through a visual prism. Ever since then, Gombrich has followed my path. I soon come to read his more specialised works on form, function and symbolism in Renaissance art, I learn about his life, deeply influenced by 20th century history, and I keep going back to “The Story Of Art” whenever I need to take a step back and look at general ideas again. And I steal my mother’s Swedish copy! I want to read it aloud to my children, and they are only used to their father reading in German, and me in Swedish. So in order not to confuse them more than necessary in their Babylonian curse, I read it in Swedish, the stolen goods. And what a help that has been in the many museums around the world that my children have visited over the years. They recognise their “Gombrich” when they see it. Two years ago, my eldest son wants a copy - in English, in order to be able to quote from it. And of course I can’t resist buying it for him, at a shop inside the British Museum. So we have three copies, and I would not be beyond buying one in French, at a shop in the Louvre, maybe, just for the silliness of owning a favourite in so many different shapes. For they are all slightly different in layout, but equally satisfying visually and textually. I still recommend it to whoever wants a clear, concise, lovable account of the history starting with cave paintings in Lascaux, and moving forwards still, mirroring humanity in its need to express ideas, thoughts and feelings through the medium of art. My children and I will now be reading A Little History of the World, which Gombrich wrote expressly for children, and YES - we read it in Swedish. And YES, we have it in English as well! And NO - one Billy bookshelf is not even enough for our children’s books anymore! This is The Story Of Lisa And The Story Of Art, to be continued...

  2. 4 out of 5

    Ahmad Sharabiani

    The story of Art, Ernst Hans Gombrich (1909 - 2001) The Story of Art, by E. H. Gombrich, is a survey of the history of art from ancient times to the modern era. First published in 1950 by Phaidon, the book is widely regarded both as a seminal work of criticism and as one of the most accessible introductions to the visual arts. The book is divided into an introduction, 27 chapters each dealing with a defined time period of art history within one or several cultural/geographic contexts, and a concl The story of Art, Ernst Hans Gombrich (1909 - 2001) The Story of Art, by E. H. Gombrich, is a survey of the history of art from ancient times to the modern era. First published in 1950 by Phaidon, the book is widely regarded both as a seminal work of criticism and as one of the most accessible introductions to the visual arts. The book is divided into an introduction, 27 chapters each dealing with a defined time period of art history within one or several cultural/geographic contexts, and a concluding chapter summarizing the latest developments in visual arts. تاریخ نخستین خوانش (تورق): ماه سپتامبر سال 2001 میلادی عنوان: تاریخ هنر؛ اثر: ارنست جان گامبریچ؛ مترجم: علی رامین؛ مشخصات نشر: تهران، نشر نی، 1379، در 674 ص، مصور بخشی رنگی، نقشه، نمودار، شابک چاپ پنجم در سال 1387: 9789643124700؛ وازه نامه دارد، نمایه، کتابنامه از ص 639 تا 647 موضوع: تاریخ هنر از نویسندگان اتریشی - سده 20 م تاریخ هنر گامبریچ یکی از آثار گرانبهائی ست که درباره‌ ی هنر نگاشته شده؛ مدخلی برای ورود به دنیای هنر است، از نخستین تجربهٔ هنری انسان در نقش‌ پردازی داخل غارها گرفته تا واپسین آثار هنری امروز جهان. ا. شربیانی

  3. 5 out of 5

    Nikoleta

    Ένα εκπληκτικό βιβλίο για την ιστορία της τέχνης. Εμένα προσωπικά, που είμαι εντελώς άσχετη, με βοήθησε πολύ να κατανοήσω την πορεία και την εξέλιξή της, σε σημείο τέτοιο που να συμπαθήσω ακόμα και την μεταμοντέρνα, που δεν άντεχα ούτε να την βλέπω. Καλογραμμένο, απλό, εμπεριέχει τα πάντα. Θα κλείσω και με ένα απόσπασμα από την εισαγωγή του Gombrich, που έγινε η αιτία να με κερδίσει και με έκανε να το ξεκοκαλίσω όλο. «...η Τέχνη - με κεφαλαίο Τ - δεν υπάρχει. Γιατί η Τέχνη με κεφαλαίο Τ κατάντησε Ένα εκπληκτικό βιβλίο για την ιστορία της τέχνης. Εμένα προσωπικά, που είμαι εντελώς άσχετη, με βοήθησε πολύ να κατανοήσω την πορεία και την εξέλιξή της, σε σημείο τέτοιο που να συμπαθήσω ακόμα και την μεταμοντέρνα, που δεν άντεχα ούτε να την βλέπω. Καλογραμμένο, απλό, εμπεριέχει τα πάντα. Θα κλείσω και με ένα απόσπασμα από την εισαγωγή του Gombrich, που έγινε η αιτία να με κερδίσει και με έκανε να το ξεκοκαλίσω όλο. «...η Τέχνη - με κεφαλαίο Τ - δεν υπάρχει. Γιατί η Τέχνη με κεφαλαίο Τ κατάντησε σκιάχτρο και φετιχισμός. Κινδυνεύεις να εξουθενώσεις έναν καλλιτέχνη λέγοντας του πως εκείνο που μόλις έφτιαξε δεν είναι "Τέχνη" παρόλο που είναι καλό. Και αν δηλώσουμε σε οποιονδήποτε πως εκείνο που του αρέσει σε κάποιο έργο δεν είναι, όπως νομίζει, Τέχνη αλλά κάτι διαφορετικό, θα μείνει άναυδος.»

  4. 4 out of 5

    AC

    This book was perfect. For someone like myself who (now) has a little knowledge of Art (the capital letter here is deliberate) and some sense of history -- but who has big gaps and oceans of ignorance about the topic -- this book was perfect. It is mature, serious, to the point, absolutely free of jargon, sure, insightful -- always interesting, never pedantic -- and not eccentric in the least. Gombrich covers all the major artists and the movements they represent, and ties them together with cla This book was perfect. For someone like myself who (now) has a little knowledge of Art (the capital letter here is deliberate) and some sense of history -- but who has big gaps and oceans of ignorance about the topic -- this book was perfect. It is mature, serious, to the point, absolutely free of jargon, sure, insightful -- always interesting, never pedantic -- and not eccentric in the least. Gombrich covers all the major artists and the movements they represent, and ties them together with clarity. Like one of our most knowledgeable 'friends' on the art circuit at goodreads, he is discerning, but not judgmental. Indeed, Gombrich's account of the development of modern art - up until World War II -- is fabulous, though brief. Gombrich is much less upbeat on more recent trends -- he mentions Pop, but quite deliberately (it seems) refuses to even mention Warhol's name. I know that it's very difficult for people who know a great deal about something to recommend -- or even read - introductory books. But for anyone looking for a book of this sort, this is definitely a winner.

  5. 4 out of 5

    Νόρα

    Από τα ωραιότερα βιβλία που βρίσκονται στη βιβλιοθήκη μου.Όσοι με γνωρίζουν ξέρουν ότι έχω βαθιά αγάπη για την τέχνη,έτσι μου έκαναν δώρο αυτό το βιβλίο.Δεν ήταν δύσκολο να το καταλάβουν ότι το ήθελα,τους είχα πάρει τα αυτιά.Είχα αποφασίσει να μάθω περισσότερα για την ιστορία της τέχνης και δεν μου αρκούσαν πλέον τα βιβλία των μεγάλων ζωγράφων η οι οδηγοί των μουσείων.Ένα βιβλίο κατανοητό με απλή γραφή ,που εύκολα ο αναγνώστης ξεκαθαρίζει με σειρά τις έννοιες και την χρονολογική εξέλιξη της τέχν Από τα ωραιότερα βιβλία που βρίσκονται στη βιβλιοθήκη μου.Όσοι με γνωρίζουν ξέρουν ότι έχω βαθιά αγάπη για την τέχνη,έτσι μου έκαναν δώρο αυτό το βιβλίο.Δεν ήταν δύσκολο να το καταλάβουν ότι το ήθελα,τους είχα πάρει τα αυτιά.Είχα αποφασίσει να μάθω περισσότερα για την ιστορία της τέχνης και δεν μου αρκούσαν πλέον τα βιβλία των μεγάλων ζωγράφων η οι οδηγοί των μουσείων.Ένα βιβλίο κατανοητό με απλή γραφή ,που εύκολα ο αναγνώστης ξεκαθαρίζει με σειρά τις έννοιες και την χρονολογική εξέλιξη της τέχνης,ξαναβάζει σε μια χρονολογική σειρά γεγονότα και πρόσωπα που υπάρχουν συγκεχυμένα στο μυαλό μας.Το βιβλίο ανήκει σε εκείνα τα σπάνια βιβλία που μπορούν να ανοίξουν κόσμους ολόκληρους μπροστά στα μάτια σου και να σε ταξιδέψουν.Δεν χρειάζεται να είσαι ειδήμων για να μπορέσεις να το απολαύσεις.O Gombrich επεξηγεί με ουσιαστικό τρόπο αρκετά σύνθετα ζητήματα.Το Χρονικό της Τέχνης οφείλει τη μοναδική δημοτικότητά του στην άμεση και απλή γραφή του.Ένα βιβλίο που το προτείνω ανεπιφύλακτα.

  6. 4 out of 5

    Rick

    The Story of Art is a handy little survey of art history, primarily but not exclusively western art, from cave paintings and primitive sculptures to modern architecture and pop art. It is 500 pages of text and that many pages of well synchronized color plates in a smart pocket edition by Phaidon. Twenty-eight chapters, mostly quite brief, but each a skillful, thoughtful rippling of the surface, with hints of depth and well-defined currents moving quickly and sure footedly through the eras and ad The Story of Art is a handy little survey of art history, primarily but not exclusively western art, from cave paintings and primitive sculptures to modern architecture and pop art. It is 500 pages of text and that many pages of well synchronized color plates in a smart pocket edition by Phaidon. Twenty-eight chapters, mostly quite brief, but each a skillful, thoughtful rippling of the surface, with hints of depth and well-defined currents moving quickly and sure footedly through the eras and advances and changing perspectives on art and the role of the artist. Gombrich is more than knowledgeable and yet manages to condense without condescending or reducing his narrative to trivial choices. He brings the freshness that comes with the enthusiasm of discovery. Of course, what he is sharing is not new to him, but sharing the works and his insights with the reader is new and exciting to him, and the enthusiasm is infectious. The intended audience is younger readers than myself, high school and college age readers or adults new to art history. But I found the book not just enjoyable but helpful and insightful. Gombrich’s prose is clear and crisp, and often charming. Traveling through this great span of time with him is like taking a walk through all the great museums of the world with an elegantly minded expert at your elbow.

  7. 5 out of 5

    Arybo ✨

    Italian/English review 🇮🇹 Non è perfetto, ha una visione prettamente occidentale, con qualche incursione nel mondo asiatico, africano e sudamericano. D’altra parte, lo stesso Gombrich spiega che non ha potuto inserire tutti i suoi ambiti di interesse in un volume che, nonostante queste mancanze, è riuscito nell’impresa di ricostruire una storia dell’arte almeno dell’occidente. Non ci si può lamentare, poi, che la parte dell’arte comunemente nota come “contemporanea” (quella dei musei modernissim Italian/English review 🇮🇹 Non è perfetto, ha una visione prettamente occidentale, con qualche incursione nel mondo asiatico, africano e sudamericano. D’altra parte, lo stesso Gombrich spiega che non ha potuto inserire tutti i suoi ambiti di interesse in un volume che, nonostante queste mancanze, è riuscito nell’impresa di ricostruire una storia dell’arte almeno dell’occidente. Non ci si può lamentare, poi, che la parte dell’arte comunemente nota come “contemporanea” (quella dei musei modernissimi, per intenderci, fatta di action painting e installazioni) non sia tanto approfondita: è pur sempre un libro scritto nel 1950 e ampliato in parte negli anni successivi. A questo punto, io mi potrei lamentare del fatto che, per il manierismo, si siano usate al massimo due pagine, mentre in realtà ci sarebbe stato tanto da scrivere. Ma non sono qui per polemizzare con chi polemizza. Questo libro nasce come “prima lettura” per chi è a digiuno di arte, e quindi la sua funzione la compie appieno. Venire a conoscenza dell’arte fiamminga, dell’arte Mesopotamica o dell’arte precolombiana è bello, e più bello è capirne i significati, le cause e le conseguenze. Tutto questo lo permette la lettura del Gombrich. Anche chi ha studiato arte per anni troverà in queste pagine nuovi spunti di riflessione e nuovi approcci a temi triti e ritriti. Io, ad esempio, non avrei mai collegato Manet a Goya, ed invece l’autore mi mostra come questi artisti possano essere stati legati. Ecco, questa è la cosa bella di questo librone: aprire gli occhi, far conoscere e sperimentare, far interessare. Naturalmente, non si può pensare di uscire istruiti in tutta la storia dell’arte solo leggendo questo libro. Ma la sua cavolo di funzione il testo la fa, perché ti spinge a consultare altri documenti, altri saggi, ad andare per chiese e musei, alla ricerca del patrimonio mondiale della bellezza. Come dice Gombrich verso la fine, non è importate se trovate il vostro artista preferito e snobbate chi non gli assomiglia; l’importante è che capiate i movimenti dell’arte e della mente degli artisti, che riusciate a fare collegamenti, vedere i quadri con occhi nuovi. Mi ricordo ancora, nella prefazione, come Gombrich descriva quelli che vanno in un museo, girano forsennati con la cartina alla mano cercando i capolavori e, nel momento in cui si trovano davanti all’opera, tracciano un segno sulla cartina e passano ad un’altra ricerca, senza guardare l’opera. Ecco, fatevi un piacere: la prossima volta che entrate in un museo o andare a visitare una chiesa, prendete la guida illustrata, tenetela in borsa, girovagate per le stanze senza cartina e, appena trovare un’opera che vi interessa, fermatevi lì davanti, pensate a quello che vedete, chiedetevi perché vi ha attirato. Magari riuscirete a capire le intenzioni dell’artista, la sua condizione sociale, la sua vita, le cose che ha attorno, la sua società. Poi, leggete la guida: probabilmente vi troverete quello che, nel vostro intimo, avete ipotizzato. Se non capite i collegamenti tra le opere, poi, sfoglierete libri come questo, capaci di dare panoramiche meravigliose sulla maggior parte delle epoche storiche. Buona visione.😊 ———- 🇬🇧 It is not perfect, has a purely Western vision, with some incursion into the Asian, African and South American world. On the other hand, Gombrich himself explains that he was unable to include all his fields of interest in a volume that, despite these shortcomings, managed to rebuild an art history of western art, at least. We cannot complain, then, that the part of art commonly known as "contemporary" (that of ipermodern museums, to be clear, made of action painting and installations) is not so thorough: it is still a book written in 1950 and expanded in subsequent years. At this point, I could complain about the fact that, for mannerism, the author used only two pages, while in reality there would be so much to write. But I'm not here to argue with those who argue. This book is born as a "first reading" for those who are fasting for art, and therefore it fulfills its function fully. Getting to know Flemish art, Mesopotamian art or pre-Columbian art is beautiful, and it is better to understand its meanings, causes and consequences. Reading Gombrich’s books allows all of this. Even those who have studied art for years will find, in these pages, new food for thought and new approaches to tritium themes and portraits. For example, I would never have connected Manet to Goya, and instead the author shows me how these artists may have been linked. Here, this is the beautiful thing about this book: open your eyes, make known and experiment, get interested. Of course, one can not expect to get educated throughout the history of art just by reading this book. But the text does his function in the right way, because it leads you to consult other documents, other essays, to go to churches and museums, in search of the world heritage of beauty. As Gombrich says towards the end, it is not important if you find your favorite artist and snubbed who does not resemble him; the important thing is that you understand the movements of the artists' art and mind, that you manage to make connections, see the paintings with new eyes. I still remember, in the preface, how Gombrich describes those who go to a museum, they go wild with the map in hand looking for the masterpieces and, when they are in front of the work, draw a mark on the map and leave the artifact, going on other research, without looking at the work. Here, do yourself a favor: the next time you enter a museum or go to visit a church, take the illustrated guide, keep it in your bag, wander through the rooms without a map and, as soon as you find a work that interests you, stop there , think about what you see, ask yourself why it attracted you. Maybe you will be able to understand the intentions of the artist, his social condition, his life, the things around him, his society. Then, read the guide: you will probably find what you have hypothesized in your mind. If you do not understand the connections between the works, then, you will browse books like this, capable of giving wonderful views on most of the historical periods. Happy vision.😊

  8. 4 out of 5

    Ezgi

    Yedi yüz sayfalık bu başyapıt hakkında konuşmak kolay değil. Lokasyon değişikliği sebebiyle aylarca okuyamadım; insanın yanında taşıması için de ağırlığı pek makul olan bir kitap olmadığından bitirmem uzun sürdü. Kitabın en önemli özelliği gidip bu eserleri tek tek yerinde inceleme isteğini tavan yaptırması. Kitapta fotoğraflanan eserlerin bir kısmını kendi gözlerimle görebildiğim için mutlu olmuşken bundan sonraki müze gezilerimde önceden bu kitabı bir karıştırıp “burada da bunu görmek lazım” d Yedi yüz sayfalık bu başyapıt hakkında konuşmak kolay değil. Lokasyon değişikliği sebebiyle aylarca okuyamadım; insanın yanında taşıması için de ağırlığı pek makul olan bir kitap olmadığından bitirmem uzun sürdü. Kitabın en önemli özelliği gidip bu eserleri tek tek yerinde inceleme isteğini tavan yaptırması. Kitapta fotoğraflanan eserlerin bir kısmını kendi gözlerimle görebildiğim için mutlu olmuşken bundan sonraki müze gezilerimde önceden bu kitabı bir karıştırıp “burada da bunu görmek lazım” demem çok muhtemel bundan böyle. Bunların yanında, kitapta benim için, günümüze ulaşan pek çok Antik Yunan/Roma heykelinin aslında -kendi dönemlerinde bile- replikadan ibaret olması, onların vakt-i zamanında tıpkı Endülüs Sarayları gibi renkli tasarlanmış olması, ilk Empresyonistlerin geleneğe sıkı sıkıya bağlı olan otoriter sanat okullarına karşı verdikleri mücadeleler gibi pek çok yeni bilgi vardı. Hatta o zorlu mücadeleden haberdar olunca modern ve post-modern sanata karşı biraz daha insaflı olmaya karar verdim. 1600’lü yıllarda bile İtalya’daki sanat okullarında artık üretilebilecek yeni bir teori, aşılacak bir perspektifin kalmadığına dair inanç yaygınlaşmış. İnsanlar o tarihte Avrupa’da ‘resim sanatını nasıl daha fazla geliştirebiliriz’ diye münazaralar yaparken başka milletlerin (misal bizim) o tarihlerde neler yapıyor olduğuna daha dikkatle bakmak gerekir. 1600’lerde doruğa ulaştığı ve üzerine bir şey eklenemeyeceği düşünüldüğü halde, sanatçılar her seferinde yeni bir şey katmayı ve bir önceki anlayışı aşmayı başaracak buluşlarla gelmişler. Neredeyse doğa-üstü sayılabilecek bu çabanın tarihine bakmak benim için heyecan verici oldu. İyi ki Gombrich bu kitabı yazmış. İyi ki ben onu sahaftan düşürmüşüm : ) Başka sanat tarihi kitapları ile bu konuya devam etmek istiyorum.

  9. 4 out of 5

    Luís C.

    What a monument! I'm not a regular in the history of art, but I wanted to throw myself still in this reading. Much good has taken me, it took me a few weeks to deal with them, but I do not regret it! Are discussed painting, drawing, sculpture and even architecture, since the earliest human societies until the 50s the whole is decorated with beautiful illustrations. Unless you have a real need for the pocket edition (small footprint), I advise rather publishing "beautiful book". Indeed, the techn What a monument! I'm not a regular in the history of art, but I wanted to throw myself still in this reading. Much good has taken me, it took me a few weeks to deal with them, but I do not regret it! Are discussed painting, drawing, sculpture and even architecture, since the earliest human societies until the 50s the whole is decorated with beautiful illustrations. Unless you have a real need for the pocket edition (small footprint), I advise rather publishing "beautiful book". Indeed, the technical constraints imposed grouping illustrations at the end of the paperback edition, which requires incessant round trips. And the images are larger, quite simply!

  10. 5 out of 5

    Michael Finocchiaro

    Gombrich's Story of Art is a great survey (western-oriented however) of art for those who wish to know the big names and get familiar with some of the more common works. He covers all the various periods in a sufficient amount of detail without sounding pedantic or academic which is a challenge when explaining art history. I would just lament the lack of information about art in China, India,. S America and of course Africa, but that is kind of how Europeans have always viewed art, isn't it. It r Gombrich's Story of Art is a great survey (western-oriented however) of art for those who wish to know the big names and get familiar with some of the more common works. He covers all the various periods in a sufficient amount of detail without sounding pedantic or academic which is a challenge when explaining art history. I would just lament the lack of information about art in China, India,. S America and of course Africa, but that is kind of how Europeans have always viewed art, isn't it. It remains nonetheless a great starter for someone who wants to get their feet wet.

  11. 4 out of 5

    صان

    بینظیره. حتا اگه به عنوان تفریح و علاقه هم بخونید، خستهتون نمیکنه، ناامیدتون نمیکنه، مهربونه، روزای خوبی میسازه براتون بی‌نظیره. حتا اگه به عنوان تفریح و علاقه هم بخونید، خسته‌تون نمیکنه، ناامیدتون نمیکنه، مهربونه، روزای خوبی میسازه براتون

  12. 4 out of 5

    Michael Kotsarinis

    4.5/5 Η αλήθεια είναι ότι όταν το αγόρασα, ως βιβλίο αναφοράς για τη βιβλιοθήκη μας, δεν πίστευα ότι θα το διάβαζα ολόκληρο. Μετά το πρώτο ξεφύλλισμα, σκέφτηκα να ρίξω μια ματιά στην εισαγωγή. Και εκεί ήρθε η πρώτη έκπληξη καθώς αντί για τα συνήθη ακαταλαβίστικα και βαθυστόχαστα, που διαβάζουμε σε άρθρα και κριτικές για την Τέχνη, συνάντησα έναν λόγο απλό, μεστό και στραμμένο στον απλό αναγνώστη. Λίγο, λίγο, λοιπόν το προχωρούσα ανάμεσα από άλλα αναγνώσματα και χωρίς να το καταλάβω, είχα περάσει 4.5/5 Η αλήθεια είναι ότι όταν το αγόρασα, ως βιβλίο αναφοράς για τη βιβλιοθήκη μας, δεν πίστευα ότι θα το διάβαζα ολόκληρο. Μετά το πρώτο ξεφύλλισμα, σκέφτηκα να ρίξω μια ματιά στην εισαγωγή. Και εκεί ήρθε η πρώτη έκπληξη καθώς αντί για τα συνήθη ακαταλαβίστικα και βαθυστόχαστα, που διαβάζουμε σε άρθρα και κριτικές για την Τέχνη, συνάντησα έναν λόγο απλό, μεστό και στραμμένο στον απλό αναγνώστη. Λίγο, λίγο, λοιπόν το προχωρούσα ανάμεσα από άλλα αναγνώσματα και χωρίς να το καταλάβω, είχα περάσει το 1/3 του βιβλίου. Από ένα σημείο και μετά του αφιέρωσα εξ ολοκλήρου την προσοχή μου και ομολογώ πως το ευχαριστήθηκα! Βέβαια, μία ανάγνωση δεν φτάνει και συχνά θα πρέπει να ξαναγυρίζω σε συγκεκριμένα θέματα για να τα θυμηθώ αλλά πιστέψτε με αξίζει τον κόπο!

  13. 4 out of 5

    Rosenkavalier

    Autodidatti di tutto il mondo, uniamoci Antefatto: al Liceo, in un impeto autonomista, la mia professoressa di disegno decise di saltare il programma triennale di storia dell'arte, consentendomi di beneficiare di cinque anni di proiezioni ortogonali (ricalcate alla finestra dalle tavole altrui). Questo era l'alibi. Fino ai 30 anni circa non mi sono mai molto interessato d'arte, fino a un ponte del Primo Maggio trascorso tra Siena e Arezzo. Da lì, resomi conto di quel che mi ero perso, ho cominciato Autodidatti di tutto il mondo, uniamoci Antefatto: al Liceo, in un impeto autonomista, la mia professoressa di disegno decise di saltare il programma triennale di storia dell'arte, consentendomi di beneficiare di cinque anni di proiezioni ortogonali (ricalcate alla finestra dalle tavole altrui). Questo era l'alibi. Fino ai 30 anni circa non mi sono mai molto interessato d'arte, fino a un ponte del Primo Maggio trascorso tra Siena e Arezzo. Da lì, resomi conto di quel che mi ero perso, ho cominciato a girare per chiese, mostre e musei, rincorrendo la mia ignoranza, la quale ha il passo spedito di una siepista etiope. La Storia di Gombrich è il libro che avrei dovuto leggere appena tornato da Siena, perchè è il sogno realizzato di qualsiasi autodidatta. E' scritto benissimo: avvicente come Dumas, vi farà fare il tifo per il vostro artista preferito. Si legge facilmente: Gombrich da vero maestro non solo sa, ma sa spiegare (con tanti saluti a quel detto cretino per cui "chi sa fare fa, chi non sa fare insegna"). Infine, è disseminato di spunti su cui costruire altre letture e, soprattutto, visite a luoghi e opere. Le idee di base del libro mi paiono in estrema sintesi queste. La storia dell'arte è in realtà storia degli artisti. Fino alla fine dell'800, è la storia del rapporto tra l'osservazione della natura e la sua riproduzione, più o meno fedele. Gombrich esamina il complicato andirivieni tra i diversi scopi che l'arte si è prefissa nei secoli, con pagine per me illuminanti sull'arte antica (breaking news: gli egizi dipingevano le persone "di sbieco" per uno scopo preciso, non perchè non erano capaci di farle meglio). Dall'Impressionismo in poi, inizia la sfida degli artisti con i problemi formali dell'arte, che a poco a poco prevalgono sul soggetto. A questo proposito, ho trovato affascinante il discorso che l'autore fa sulla differenza tra "riprodurre ciò che si vede" e "riprodurre ciò che si sa di vedere". In breve, ai pittori accademici che dipingevano in studio, un impressionista avrebbe fatto notare che, così facendo, ritraevano ciò che la loro mente, la loro cultura sapevano, ma non ciò che realmente vede l'occhio umano (ossia, i colori, il movimento, la luce). Da questa prospettiva, avevano qualche buona ragione Monet e soci quando dicevano di essere loro i veri naturalisti e non i paesaggisti come Poussin. Nella parte finale, inevitabilmente influenzata dall'essere quasi cronaca, Gombrich sviluppa alcune riflessioni sull'arte contemporanea. In conclusione, Autodidatti di tutto il mondo, uniamoci, non abbiamo da perdere altro che le catene della nostra ignoranza! (Noterella editoriale, per la quale giuro che la Phaidon non mi passa una mancia: data la qualità e soprattutto l'importanza delle foto per la piena fruibilità del testo, consiglierei di investire la sommetta di € 40 circa nell'edizione rilegata e patinata, ne vale la pena) Bonus Track: interessante sito che raccoglie molto materiale su Gombrich http://gombrich.co.uk/

  14. 5 out of 5

    John David

    Just a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct im Just a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world. The inclusions and exclusions of certain artists are, of course, always arbitrary. However, Gombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.) What makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else.

  15. 5 out of 5

    Leila

    همیشه وقتی روبروی یه اثر هنری می ایستادم و نگاهش میکردم با خودم فکر میکردم باید به چه چیزهایی دقت کنم و دقیقا چه چیزی رو تحسین کنم که منو شگفت زده کنه؟ کم کم به اواسط کتاب که رسیدم انگار داشتم یه کتاب عاشقانه میخوندم و منتظر میموندم که دوباره نویسنده با اون دقت و ظرافت یه اثر رو توضیح بده و من محو اون قسمت های رنگی و عکس ها و هدف و مقصودی که اون هنرمند انقدر ظریف پای تابلو ریخته بشم.به من نشون داد اون تابلوای که شاید رو دیواراتاقم باشه یه موجود زنده است و صرفا باید بهش نگاه کرد، یعنی یاد گرفت که همیشه وقتی روبروی یه اثر هنری می ایستادم و نگاهش میکردم با خودم فکر میکردم باید به چه چیزهایی دقت کنم و دقیقا چه چیزی رو تحسین کنم که منو شگفت زده کنه؟ کم کم به اواسط کتاب که رسیدم انگار داشتم یه کتاب عاشقانه میخوندم و منتظر میموندم که دوباره نویسنده با اون دقت و ظرافت یه اثر رو توضیح بده و من محو اون قسمت های رنگی و عکس ها و هدف و مقصودی که اون هنرمند انقدر ظریف پای تابلو ریخته بشم.به من نشون داد اون تابلوای که شاید رو دیواراتاقم باشه یه موجود زنده است و صرفا باید بهش نگاه کرد، یعنی یاد گرفت که چگونه نگاه کرد تا در برابرت تبدیل به یک موجود زنده و واقعی بشه.تاریخ هنر صرف نظر از اون نگاهی که به تابلوها ومجسمه ها داره یک دید کلی از تغییر شخصیت انسان و جامعه شناسی و روانشناسی و پیچیدگی های انسان در طول زمان رو میده .این کتاب بیشتر شبیه یک سفر بود یه سفر هیجان انگیز.

  16. 5 out of 5

    Procyon Lotor

    Divulgazione per tutti Un ottimo libro che permette e ha permesso a moltissimi di farsi un'idea sull'oggetto. Praticamente privo di snobismo ed elucubrazioni fumose quanto dubbie. Appare di prima lettura un po' cagionevole sull'arte moderna e contemporanea; a parer mio no. L'effetto è senz'altro dovuto alla pressione che subiamo continuamente in merito alla diffusa e falsissima credenza che i geni dell'arte siano quasi tutti nati negli USA nel XX secolo ed in particolare a NY e LA. Mi permetto di Divulgazione per tutti Un ottimo libro che permette e ha permesso a moltissimi di farsi un'idea sull'oggetto. Praticamente privo di snobismo ed elucubrazioni fumose quanto dubbie. Appare di prima lettura un po' cagionevole sull'arte moderna e contemporanea; a parer mio no. L'effetto è senz'altro dovuto alla pressione che subiamo continuamente in merito alla diffusa e falsissima credenza che i geni dell'arte siano quasi tutti nati negli USA nel XX secolo ed in particolare a NY e LA. Mi permetto di schifare questo assurdo stereotipo perché non ho alcuna ritrosia ad ammirare - anche se da profano - l'arte contemporanea.

  17. 5 out of 5

    Namrirru

    The title of this book should be "The Story of Western Art," because that is what 95% of this book is. Western Art. The "Primitive Art," "Looking Eastwards" and "Modernism" section are an insult and should have been left out of the text along with his random snide comments. Othewise, this makes a nice commentary on Western Art. It's enthusiastic and reads like a "story."

  18. 4 out of 5

    Mary-jane

    Από τα καλύτερα βιβλία που έχω διαβάσει!Προσωπικά είχα αρκετή επαφή με την τέχνη πριν το διαβάσω πράγμα που με ώθησε να παω και στο τμήμα ιστορίας και αρχαιολογίας.Τα σχετικά με την τέχνη βιβλία που διαβάζω είναι εκείνα της Τaschen και οι οδηγοί μουσείων που διατείθενται στα βιβλιοπωλεία "Πρωτοπορία"(τα συστήνω ανεπιφύλακτα για κάθε φιλοτεχνο)Όμως ποτέ δεν είχα την ευκαιρία να διαβασω μια ολοκληρωμένη πραγματεία περί τέχνης,με αποτέλεσμα να ασχολούμαι συνεχώς με συγκεκριμένα κινήματα(αναγέννηση, Από τα καλύτερα βιβλία που έχω διαβάσει!Προσωπικά είχα αρκετή επαφή με την τέχνη πριν το διαβάσω πράγμα που με ώθησε να παω και στο τμήμα ιστορίας και αρχαιολογίας.Τα σχετικά με την τέχνη βιβλία που διαβάζω είναι εκείνα της Τaschen και οι οδηγοί μουσείων που διατείθενται στα βιβλιοπωλεία "Πρωτοπορία"(τα συστήνω ανεπιφύλακτα για κάθε φιλοτεχνο)Όμως ποτέ δεν είχα την ευκαιρία να διαβασω μια ολοκληρωμένη πραγματεία περί τέχνης,με αποτέλεσμα να ασχολούμαι συνεχώς με συγκεκριμένα κινήματα(αναγέννηση,μπαρόκ,ρομαντισμός) και συγκεκριμένους καλλιτέχνες που μου άρεσαν(raffael,Caravaggio,Rubens).Με το βιβλίο αυτό γνώρισα καλύτερα πολλα αλλα κινήματα και καλλιτέχνες που παλαίοτερα τους αποκαλούσα το πολύ ελαιοχρωματιστες(ναι ήμουν τόσο προκατειλημμένη:( ).Ο συγγραφέας μας παρουσιάζει με τρόπο εναργή πως το ένα κίνημα γέννησε το άλλο με αφορμή τς προβλήματα που καλούνταν να επιλύσουν κάθε φόρα οι καλλιτέχνες. Συν τοις άλλοις η γλώσσα του βιβλίου είναι απλή και κατανοητή(για αυτό το λόγο πολλοί ανόητοι κριτικοί το έθαψαν),ενώ η εικονογράφηση είναι πολύ στοχευμένη. Ένα αληθινό στολίδι για κάθε βιβλιοθήκη που αξίζει να το διαβάσουν φιλόξενοι και μη!

  19. 5 out of 5

    محمد فرد

    کتاب به شدت خوبی بود. البته همون طور که نویسنده در انتهای کتاب اشاره می کنه، روند دار کردن هنر تا حد زیادی امکان پذیر نیست و نمی شه خیلی قانون مند سبک ها رو پشت سر هم قرار داد. به این دلیل که همیشه افراد نو آور بودن و شاید مثلا گذشته ها کسانی بودن که کتاب یا اثری خلاف عرف و سبک غالب جامعشون نوشتن و اینا یه طورایی توی این تقسیم بندی ها حذف می شن. اما در نهایت مجبوریم این طور تقسیم بندی کنیم. کتاب جدا مفیدی بود و تنها ایرادی که داشت بررسی بسیار بسیار کم تاریخ هنر شرق بود. ایران در اون به شدت کم سهم کتاب به شدت خوبی بود. البته همون طور که نویسنده در انتهای کتاب اشاره می کنه، روند دار کردن هنر تا حد زیادی امکان پذیر نیست و نمی شه خیلی قانون مند سبک ها رو پشت سر هم قرار داد. به این دلیل که همیشه افراد نو آور بودن و شاید مثلا گذشته ها کسانی بودن که کتاب یا اثری خلاف عرف و سبک غالب جامعشون نوشتن و اینا یه طورایی توی این تقسیم بندی ها حذف می شن. اما در نهایت مجبوریم این طور تقسیم بندی کنیم. کتاب جدا مفیدی بود و تنها ایرادی که داشت بررسی بسیار بسیار کم تاریخ هنر شرق بود. ایران در اون به شدت کم سهم بود و چین حتی . این تنها ضعف این کتاب ارزشمند بود

  20. 5 out of 5

    David

    This is a thick and tremendously heavy book, but only physically heavy, and Gombrich is far from thick in his treatment of art down the ages. Read it lying face-down on the floor. Use it as a door-stop. The reproductions are exquisite in colour and detail, and of course it can be dipped into at leisure and as the mood takes. The Italian Renaissance is comprehensively covered. I wanted to buy this book several years ago but thought £25 was a bit steep, then found it last year on sale in Central Lon This is a thick and tremendously heavy book, but only physically heavy, and Gombrich is far from thick in his treatment of art down the ages. Read it lying face-down on the floor. Use it as a door-stop. The reproductions are exquisite in colour and detail, and of course it can be dipped into at leisure and as the mood takes. The Italian Renaissance is comprehensively covered. I wanted to buy this book several years ago but thought £25 was a bit steep, then found it last year on sale in Central London at half price and could no longer resist.

  21. 4 out of 5

    Ryan

    This well-composed book was a pleasure to read. And as far as introducing the history of art, it is exactly what I was looking for; beautiful photographs, lucid descriptions, no jargon, no pretension. I recommend that you read the short preface and first chapter, and I bet that you won’t stop there. The book’s 600 pages contain at least as many photographs, mostly of paintings, and about half of those figures are full-page (including a few fold-outs [ooh la la:]). The text is written simply – wit This well-composed book was a pleasure to read. And as far as introducing the history of art, it is exactly what I was looking for; beautiful photographs, lucid descriptions, no jargon, no pretension. I recommend that you read the short preface and first chapter, and I bet that you won’t stop there. The book’s 600 pages contain at least as many photographs, mostly of paintings, and about half of those figures are full-page (including a few fold-outs [ooh la la:]). The text is written simply – without jargon, footnotes, endnotes or appeal to authority. Mr. Gombrich’s restraint is impressive, since he obviously has a deep knowledge and personal appreciation for the topic. Instead of appealing to authority, he draws upon the art itself and universal human instincts to help the reader understand the artist and the art. For example, he explains the ancient Egyptian belief that images carry the soul, not by objectifying their primitive beliefs, but by suggesting an exercise by which the reader can discover that those feelings are commonplace within herself. He provokes (p. 40): “Suppose we take a picture of our favourite champion from today’s paper – would we enjoy taking a needle and poking out the eyes? Would we feel as indifferent about it as if we poked a hole anywhere else in the paper? I do not think so.” And so begins the dynamic struggle of emotion and reason that we follow through the history of art. This book impresses as much by its layout and editing as by the text and pictures themselves. Each of the many chapters begins with an architectural example. Since the text wisely refrains from tangents into cultural history, the architecture serves a second purpose (besides exemplifying preserved art) of adding practical context to the timeline. Then, each chapter ends with a small picture showing an artist from that time period at work. These little pictures are the only ones not actually referred to in the text, and again add non-text context, while bringing the reader closer to the artists. This approach succeeds in impressing the reader with the most important concepts in art history, since they are the ones that naturally recur throughout the story. The author frequently refers the reader to previous pictures (always giving the page number). Since the text is so brief, the reader, upon looking back at a previous picture, will also be reminded of the ideas expressed on that earlier page. Again, the author amplifies this learning effect by using consistent language and choosing pieces of art that will compliment each other. This model only breaks down in the final two chapters, which were added to later additions, about our contemporary art. The author has some worthwhile ideas about this topic, but writes too much. We can guess why this happened, and it does not detract much from the rest of the book. Finally, the backmatter contains a well-organized bibliography and timeline. As you can tell, I recommend this book. Even if, unlike myself, you already have a good knowledge of art history, I predict that you will appreciate this book. You may just read it a little faster.

  22. 4 out of 5

    Beth Shapeero

    The Storey of Art E. M. Gombrich I was attracted to this beautiful little book in Waterstones; its wafer thin, smooth bible pages, section of over 400 rich colour plates and stylish, minimal cover design. I was also feeling a pang of guilt for not shopping in bookshops anymore because Amazon is so easy and cheap. Walking through a bookstore, perusing books and judging them by there covers, is a real pleasure and one we will be denied access to as everybody shops online, I am pretty sure we will se The Storey of Art E. M. Gombrich I was attracted to this beautiful little book in Waterstones; its wafer thin, smooth bible pages, section of over 400 rich colour plates and stylish, minimal cover design. I was also feeling a pang of guilt for not shopping in bookshops anymore because Amazon is so easy and cheap. Walking through a bookstore, perusing books and judging them by there covers, is a real pleasure and one we will be denied access to as everybody shops online, I am pretty sure we will see high street bookshops closing down soon unless they can figure out a way to compete with Amazon. So I bought The Storey of Art mainly because it’s so attractive but I also have a staggering lack of knowledge about art history - this looked like a good way to fill myself in. I read a quote recently that said if you read one hundred books on a subject you can call yourself an expert, it’s a bit daft but I have decided set myself a challenge; read 100 art books. This one has taken me about three months to read so expertise feels like a distant dream. It took so long beacuse I wanted to concentrate and take it all in, this book covers the whole of art history from early cave painting to post-modernism, that’s a lot of useful information, also, it’s not just reading the words but taking the time to look carefully at each image and it’s not the sort of book you can read in the bath or in bed because you have to keep refering back to plates. Fortunatley it is extremely accesable, intriguiging and keenly observing making it very readable and a little pleasure to indulge in. Being so ignorant of the subject, I loved that it took its time over periods and themes, referring back to them in the following chapters, revisiting artists and styles and giving in depth critical background to works such as stylistic influences and pressures on artists of different times. It strikes a perfect balence of being informative and comprehensive without becoming stifling; it is an insightful and rich overview. I am certain that I will actually be able to remember some of this information, I couldn’t have hoped for more from art book #1/100. So maybe walking into bookshops and judging books by their covers is a good strategy after all.

  23. 4 out of 5

    Sandra

    Nuostabus vadovas po meno istorijos platybes. Planavau šią knygą įveikti per metus (visgi tai ne romanas su intriguojančiu siužetu), tačiau smalsumo vedama sukrimtau daug greičiau. Puikiai sudėliota meno chronologija, atsakanti į klausimus kas, kaip, kur, kodėl. Patiko greta istorinių faktų organiškai įsipynę įdomesni faktai iš menininkų biografijų. Verta garbingos vietos asmeninėje bibliotekoje.

  24. 4 out of 5

    Pooya Kiani

    یکی از بهترین کادوهایی که به خودم دادم.

  25. 4 out of 5

    Cinnamon Spark

    Μια εξαιρετική εισαγωγή στην Ιστορία Τέχνης.

  26. 4 out of 5

    Morgane

    First, the obvious flaws. This was originally written in 1950 by a white European man. It has all the biases you'd expect: referring to certain cultures as "primitive"; largely glossing over any art outside Europe; always defaulting to the male pronoun and in fact only naming one (**ONE**) female artist. This is really "The Story of Western European Male Art". But, I honestly don't think it's worth being upset about his biases. Complaining that books from entirely different time periods don't ma First, the obvious flaws. This was originally written in 1950 by a white European man. It has all the biases you'd expect: referring to certain cultures as "primitive"; largely glossing over any art outside Europe; always defaulting to the male pronoun and in fact only naming one (**ONE**) female artist. This is really "The Story of Western European Male Art". But, I honestly don't think it's worth being upset about his biases. Complaining that books from entirely different time periods don't match our contemporary politics is an exercise in futility. So, if you can go through the Herculean task of getting past Gombrich's bias, there's a lot of good information in this book (assuming, again, you understand you're here to learn about Western male art). He has a real enthusiasm for each style of art and encourages the reader to look at the details and even make up their own mind. He truly wants people to enjoy art, and to not be overwhelmed by the regrettable snobbishness around art culture. I think ultimately that's a great goal, and if you're intimidated by art, start here. If someone could edit this book, by taking a more global view of art and taking the time to find, oh, maybe just one or two more female artists (jesus christ), this would deserve 5 stars. Since it's actual very narrow in its scope: 3 stars.

  27. 5 out of 5

    Sepide Fallah

    کتاب در مجموع به عنوان یک کتاب تاریخ ارزشمند و ساده نویس است. یک دید کلی مناسب برای شروع مطالعات تاریخی هنرهای تجسمی و شناخت سبک های تاریخی به خواننده می دهد. اما به گمان من یک ایراد اساسی دارد و آن اینکه کتاب هیچ ایده ای درباره ارتباط هنر و شرایط اجتماعی و تاثیر جریانات فکری و محیط کلی روشنفکری در اختیار خواننده نمی گذارد و صرفا هنر را به شیوه ای مستقل از اشکال گوناگون اندیشه ورزی بررسی می کند.نقش تاریخ در آن بسیار کمرنگ است. ایراد دیگر آن توجه صرف به هنرهای تجسمی است. این کتاب تاریخ "هنرهای تج کتاب در مجموع به عنوان یک کتاب تاریخ ارزشمند و ساده نویس است. یک دید کلی مناسب برای شروع مطالعات تاریخی هنرهای تجسمی و شناخت سبک های تاریخی به خواننده می دهد. اما به گمان من یک ایراد اساسی دارد و آن اینکه کتاب هیچ ایده ای درباره ارتباط هنر و شرایط اجتماعی و تاثیر جریانات فکری و محیط کلی روشنفکری در اختیار خواننده نمی گذارد و صرفا هنر را به شیوه ای مستقل از اشکال گوناگون اندیشه ورزی بررسی می کند.نقش تاریخ در آن بسیار کمرنگ است. ایراد دیگر آن توجه صرف به هنرهای تجسمی است. این کتاب تاریخ "هنرهای تجسمی" است نه تاریخ هنر. اما در عین حال کتاب مفید و خوشخوانی است و ترجمه خوبی هم دارد.

  28. 4 out of 5

    Claudia

    Gombrich, yo soy tu fan, pero este pedazo de manual nunca fue La Historia del Arte. Dicho sea esto, te lucís como el mejor sintetizador de la visión europea del arte en 1950. Quien quiera entender los movimientos posmodernos (su suceso entre los críticos y coleccionistas; la falta de interés en y de la sociedad civil), encontrará en Ernst un interlocutor bien formado y característico de la época.

  29. 4 out of 5

    Erdinç

    Alanla ilgili ünlü ve gerçekten temel sayılabilecek bir çalışma. Akla estiğinde, ara ara bakılacak bir eser değil de, isminde de belirtildiği şekilde öyküsel yanı olan, baştan sona hızla ve merakla okunabilecek bir kitap. Kitaptan pek çok not aldım, pek çok yeni şey öğrendim, bildiğim pek çok bilgiyi bir çerçeveye oturtmak konusunda da kitap bana yardımcı oldu. Sanat tarihiyle ilgili bir başlangıç eseri olarak kabul edilse de kitapta yer yer hayli derinleşen tespit ve yorumlara da rastladım. Bir Alanla ilgili ünlü ve gerçekten temel sayılabilecek bir çalışma. Akla estiğinde, ara ara bakılacak bir eser değil de, isminde de belirtildiği şekilde öyküsel yanı olan, baştan sona hızla ve merakla okunabilecek bir kitap. Kitaptan pek çok not aldım, pek çok yeni şey öğrendim, bildiğim pek çok bilgiyi bir çerçeveye oturtmak konusunda da kitap bana yardımcı oldu. Sanat tarihiyle ilgili bir başlangıç eseri olarak kabul edilse de kitapta yer yer hayli derinleşen tespit ve yorumlara da rastladım. Bir eksik olarak özellikle Picasso’lu, Dali’li, kübist ve sürrealist akımların biraz fazla hızlı geçiştirilmesini, bu akımlara mensup pek çok önemli sanatçının kitapta isminin dahi anılmamasını belirtebilirim. Buna karşın, empresyonistlerle ilgili bilgi ve yorumların kitabın yükseliş noktaları olduğunu da söylemem gerek. Son olarak, kurgusal bir eser gibi baştan sona aralıksız okunmaya böylesine uygun bir eserin, biraz da yapısı gereği bu denli ebatlı baskılarının olmasının mekanik okunabilirlik açısından bir mahzur oluşturduğunu söyleyebilirim. Ortada sanki biraz “e-kitap seni çağırıyor” durumu var.

  30. 4 out of 5

    David

    I thumbed through a much older (perhaps first) edition of this book when I was away from home and looking for something to read. I was immediately hooked by Gombrich's enthusiastic writing. When I returned home, I was extremely pleased to find that the latest edition was lavishly illustrated and updated to reflect more recent times. In my opinion, the book is fabulously readable for two reasons: Every piece of art mentioned is shown in the book beside the text and the author avoids "pretentious I thumbed through a much older (perhaps first) edition of this book when I was away from home and looking for something to read. I was immediately hooked by Gombrich's enthusiastic writing. When I returned home, I was extremely pleased to find that the latest edition was lavishly illustrated and updated to reflect more recent times. In my opinion, the book is fabulously readable for two reasons: Every piece of art mentioned is shown in the book beside the text and the author avoids "pretentious jargon". I wish every art book followed just these two principles. While the European art from the Thirteenth to Nineteenth Centuries (the bulk of the book) eventually became a slog which threatened to make my eyes glaze over, this is no fault of Gombrich. Instead, he has given me a much greater appreciation of this time period. The art is so much more interesting against a backdrop of history and biography. True to the title, the book really does read like a story. It's not just a series of mind-numbing names, place, and dates. It's a seamless narrative of art over time. So while I'm sure it was very difficult to write, the whole thing feels effortless.

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