Степан Ванеян - Гомбрих, или Наука и иллюзия. Очерки текстуальной прагматики
Visual Discovery through Art (1965) – Moment and Movement in Art (1964) – Ritualized Gesture and Expression in Art (1966) – Action and Expression in Western Art (1972) – The Mask and the Face: The Perception of Physiognomic Likeness in Life and in Art (1972) – The Visual Image (1972) – ‘The Sky is the Limit’: The Vault of the Heaven and Pictorial Vision (1974) – Mirror and Map: Theories of Pictorial Representation (1975) – Experiment and Experience in the Arts (1980) – Standards of Truth: The Arrested Image and the Moving Eye (1980) – Image and Code: Scope and Limites of Conventionalism in Pictorial Representation (1981).
TRIBUTES. Interpreters of our Cultural Tradition. Oxford, 1984.
Focus on the Arts and Humanities (1982) – The Diversity of the Arts, The Place of the Laocoon on the Life and Work of G.E. Lessing (1957) – The Father of Art History, A Reading of the Lectures on Aesthetics of G.W.F. Hegel (1977) – Nature and Art as Needs of the Mind, The Philanthropic Ideals of Lord Leverhulme (1981) – Verbal Wit as a Paradigm of Art, The Aesthetic Theories of Sigmund Freud (1981) – The Ambivalence of the Classical Tradition, The Cultural Psychology of Aby Warburg (1966) – The High Seriousness of Play, Reflections on Homo ludens by J. Huizinga (1973) – The History of Ideas, A Personal Tribute to George Boas (1981) – The Necessity of Tradition, An Interpretation of the Poetics of IA Richards (not previously published). The Evaluation of Esoteric Currents, A Commemoration of the Work of Frances A. Yates (1982) – The Study of Art and the Study of Man, Reminiscences of Collaboration with Ernst Kris (1967) – The Exploration of Culture Contacts, The Services to Scholarship of Otto Kurz (1981).
NEW LIGHT ON OLD MASTERS. Studies in the Art of the Renaissance, IV. Oxford and Chicago, 1986.
Preface – Giotto’s Portrait of Dante? (1979) – Leonardo on the Science of Painting: Towards a Commentary on the ‘Trattato della Pittura’ (1982) (revised). Leonardo and the Magicians: Polemics and Rivalry (1982), translated – Ideal and Type in Italian Renaissance Painting (1983) (translated) – Raphael: A Quincentennial Address (1983) (translated 1984) – The Ecclesiastical Significance of Raphael’s ‘Transfiguration’ (1981) – ‘That Rare Italian Master’: Giulio Romano, Court Architect, Painter and Impressario (1981) – Architecture and Rhetoric in Giulio Romano’s Palazzo del Te (1984) (revised) – Michelangelo’s Cartoon in the British Museum (Not previously published).
REFLECTIONS ON THE OXFORD HISTORY OF ART. Views and Reviews / R. Woodfield (ed.). Oxford, 1988.
Foreword – The art of the Greeks (1966) – Chinese landscape painting (1980) – Tribal styles (1972) – A medieaval motif (1981) – Expressions of despair (1978) – The impact of the Black Death (1953) – New revelations on fresco painting (1969) – Kenneth Clark’s Piero della Francesca (1952) – The repentance of Judas (1959) – Seeking a key to Leonardo (1965) – Leonardo in the History of Science (1968) – The marvel of Leonardo (1982) – Michelangelo’s last paintings (1977) – The rhetoric of attribution – A cautionary tale (1978) – The worship of ancient sculpture (1981) – Patrons and painters in Baroque Italy (1963) – Durch genre painting (1985) – Mapping and painting in the Netherlands in the seventeenth century (1983) – The mastery of Rubens (1978) – On Rembrandt (1970) – Adam’s house in Paradise (1973) – Painted anecdotes (1967) – The whirligig of taste (1976) – The anatomy of art collecting (1982) – The claims of excellence (1968) – The meaning of beauty (1950) – The beauty of old towns (1965) – Dilemmas of modern art criticism (1968) – A theory of modern art (1966) – Malraux on art and myth (1960) – Freud’s aesthetics (1966) – Appendix: Signs, language and behaviour (1949).
TOPICS OF OUR TIME. Twentieth Century Issues in Learning and in Art. London, 1991.
An autobiographical sketch (1987) – The Embattled Humanities (1985) – Relativism in the Humanities (1985, 1987) – Relativism in the History of Ideas (1989) – Relativism in the appreciation of Art (1989) – Approaches to the History of Art (1989) – The Conservation our Cities (1963) – Watching Artists at Work (1989) – Plato in Modern Dress (1987) – Kokoschka in his Time (1986) – Image and Word in Twentieth Century Art (1985) – The Art of Saul Steinberg (1983) – A Master of Poster Design, Abraham Games (1990) – The Photographer as Artist, Henri Cartier-Bresson (1978).
GASTSPIELE. Aufsätze eines Kunsthistorikers zur deutschen Sprache und Germanistik. Wien, 1992.
Vorwort. Erinnerungen an Ernst Schaumann (1885–1934) – ‘Sind eben alles Menschen gewesen’. Zum Kulturrelativismus in den Geisteswissenschaften (1986) – Gotthold Ephraim Lessing: Die Beitrag Johann Heinrich Meyers (191) – Goethe und die Kunstsammlung der Brüder Boisserée: Gewinn und Verlust in der Emanzipation von der byzantinischen Überlieferung (1987) – Das Symbol des Schleiers. Psychologische Betrachtungen zu Schillers Dichtung (1985) – Eine Grillparzeranekdote (1963) – Beim Schreiden: Das Spiel mit den Dominosteinen Überlegungen eines Kunsthistorikers (1983) – Spracherlebnisse Festrede aus Anlass der Entgegennahme des ersten österreichischen Wittgenstein-Preises, Wien (1988).
THE ESSENTIAL GOMBRICH. London, 1996.
SIR ERNST GOMBRICH: AN AUTOBIOGRAPHICAL SKETCH AND DISCUSSION. London, 1996.
An Autobiographical Sketch – Old Masters and Other Household Gods – The Visual Image: its Place in Communication – On Art and Artists – Psychology and the Riddle of Style – Truth and the Stereotype – Action and Expression in Western Art – Illusion and Art – The Use of Colour and its Effects: the How and the Why – The Necessity of Tradition: an Interpretation of the Poetics of I.A. Richards – Verbal Wit as a Paradigm of Art: the Aesthetic Theories of Sigmund Freud – Leonardo’s Method for Working out Compositions – The Force of Habit – The Psychology of Styles – The Primitive and its Value in Art – Magic, Myth and Metaphor: Reflections on Pictorial Satire – Approaches to the History of Art: Three Points for Discussion – The Social History of Art – In Search of Cultural History – Architecture and Rhetoric in Giulio Romano’s Palazzo del Tè – From the Revival of Letters to the Reform of the Arts: Niccolò Niccoli and Filippo Brunelleschi – The Use of Art for the Study of Symbols – Aims and Limits of Iconology – Raphael’s Stanza della Segnatura and the Nature of its Symbolism – The Subject of Poussin’s Orion – Dutch Genre Painting – Imagery and Art in the Romantic Period – The Wit of Saul Steinberg – Franz Schubert and the Vienna of his Time – Nature and Art as Needs of the Mind: the Philanthropic Ideals of Lord Leverhulme – Goethe: the Mediator of Classical Values.
ВоспоминанияAN AUTOBIOGRAPHICAL SKETCH (1987) // TOPICS OF OUR TIME… WENN’S EUCH ERNST IST, WAS ZU SAGEN… // Kunsthistoriker in eigener Sache / M. Sitt (Hrsg.). Berlin, 1990. S. 63–102.
GOMBRICH AND DIDIER ERIBON CE QUE L’IMAGE NOUS DIT, Entretiens sur l’art et la science (Adam Biro). Paris, 1991. 187 p.
AN AUTOBIOGRAPHICAL SKETCH (1996) // AN AUTOBIOGRAPHICAL SKETCH AND DISCUSSION… DAL MIO TEMPO: CITTÀ, MAESTRI, INCONTRI. Woodfield R. (ed.). Turin: Einaudi, 1999. Vol. xxxiv, 154 p.
Vienna 1900: le arti figurative e il problema della cultura ebraica (1997); Riflessioni sulla catastrofe ebraica (1997); Ricordo di Ernst Schaumann (1992); Ricordo di Julius von Schlosser come maestro (1988); Il mio maestro Emanuel Loewy (1998); Storia dell’arte e psicologia a Vienna cinquant’anni fa (1984); Il Warburg Institute: Un ricordo personale (1990); lcona (1996); Lezione urbinate (1993); Discorso di ringraziamento (Vienna, 16 giugno 1993); Un ritratto (1989); Quando avete qualcosa di serio da dire … (1990).
Краткая библиография о Гомбрихе
Goodman N. Art and Illusion; a Study in the Psychology of Pictorial Representation by E.H. Gombrich [book review] // The Journal of Philosophy. 1960. Vol. 57. P. 595–599.
Ginzburg C. Da A. Warburg a E.H. Gombrich. Note sul un problema del metodo // Studii medievali. Ser. 3, VII. 1966. P. 1015–1065.
Berliner R. Die Rechtfertigung des Menschen // Münster. 1967. Bd. 20. S. 227–238.
Previtali G. E.H. Gombrich, conservatore viennese // Para gone. 1968. Vol. 19. P. 22–40.
Carrier D. Perspective as a Convention: On the Views of Nelson Goodman and Ernst Gombrich // Leonardo. 1980. Vol. 13. P. 283–287; Leonardo. 1981. Vol. 14. P. 86–87.
Carrier D. Gombrich on Art Historical Explanation // Leonardo. 1983. Vol. 16. H. 2. P. 91–96.
Blinder D. The Controversy over Conventionalism // The Journal of Aesthetics and Art Criticism. 1983. Vol. 41.
Kemp M. Seeing and Signs. E.H. Gombrich in Retrospect. Review of: E.H. Gombrich, The Image and the Eye. Further Studies in the Psychology of Pictorial Representation // Art History. 1984. Vol. 7. P. 228–243.
Onians J. (ed.). Sight and Insight. Essays on Art and Culture in Honor of E.H. Gombrich at 85. London, 1984.
Bryson N. Vision and Painting. The Logic of the Gaze. London, 1985.
Lepsky K. Ernst H. Gombrich: Theorie und Methode. Wien; Köln: Böhlau, 1991.
Masheck J. Alberti’s Window: Art-Historiographic Notes on an Antimodernist Misprision // Art Journal. 1991. Vol. 50. P. 34–41.
Woodfield R. (ed.). Gombrich on Art and Psychology. Manchester, 1996.
Wendland U. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. München: Saur, 1999. Vol. 1. P. 221–233.
Trapp J.B. E.H. Gombrich: A Bibliography. London, 2000.
Feister P.H. Gombrich Sir Ernst Hans Joseph // Metzler Kunsthistoriker Lexikon. 2. Aufl. Stuttgart-Weimar, 2007. S. 132–135.
Snyder S. Language in Art: Gombrich’s History of Representation and the Breakdown of Visual Communication // Paper presented at XXVII International Congress for Aesthetics. Ankara, 2007. July 2.
Gombrich E.H.: A Centenary Colloquium. Warburg Institute. London, 2009. 19–20 June.
1. Peter Burke (Cambridge University). Ernst Gombrich’s search for cultural history; 2. Harry Mount (Oxford Brookes University). Gombrich and the fathers (and mothers) of art history; 3. Patrick Cavanagh (Université Paris Descartes & Harvard University). The heritage of Apelles: Gombrich’s contribution to the visual neurosciences; 4. Jeroen Stumpel (Utrecht University). Gombrich’s schema: power and poverty of a concept; 5. Paul Crossley (Courtauld Institute). Gombrich and the Middle Ages; 6. Paul Taylor (Warburg Institute) Gombrich and the idea of primitive art; 7. Robert Bagley (Princeton University). Gombrich among the Egyptians; 8. Elizabeth McGrath (Warburg Institute). Gombrich as iconographer; 9. Veronika Kopecky (Warburg Institute). Gombrich’s working method; 10. Roberto Casati (Centre National de la Recherche Scientifique). The shadow toolbox; 11. Jan Koenderink (Utrecht University). Gombrich’s “beholder’s share” and the geometry of pictorial space; 12. John Kulvicki (Dartmouth College). ‘Varieties of beholders’ shares; 13. Christopher Tyler (Smith Kettlewell Eye Institute). Gombrich’s “Vault of Perception”: do we “really” see straight lines as curved? 14. Martin Kemp (Oxford University). Gombrich and Leonardo: a natural affinity.
Kesner L. Gombrich and the problem of the Relativity of Vision // Human Affairs. 2009. Vol. 19. P. 266–273.
Wood C. S. E.H. Gombrich’s ‘Art and Illusion: A Study in the Psychology of Pictorial Representation’, 1960 // The Burlington Magazine. 2009. December. P. 836–839.
Kopecky V. Letters to and from Ernst Gombrich regarding Art and Illusion, including some comments on his notion of “schema and correction” // Journal of Art Historiography. 2010. No. 3. December.
Mitrovic B. A Defence of Light. Ernst Gombrich, the Innocent Eye and Seeing in Perspective // Journal of Art Historiography. 2010. Vol. 3. P. 1–30.
Woodfield R. Ernst Gombrich: Iconology and the ‘linguistics of the image’ // Journal of Art Historiography. 2011. No. 5. December. P. 1–25.
Dedman R. The importance of being Ernst: a reassessment of E.H. Gombrich’s relationship with psychoanalysis // Journal of Art Historiography. 2012. No. 7. December.
Mitrovic B. Visuality After Gombrich: the Innocence of the Eye and Modern Research in the Philosophy and Psychology of Perception // Zeitschrift für Kunstgeschichte. 2013. Bd. 76. S. 71–90.
Mitrovic B. Nelson Goodman’s Arguments against Perspective: a Geometrical Analysis // Nexus Network Journal. 2013. Vol. 15.
Taylor P., Hope C., Burke P., Mount H. Meditations on a Heritage: Papers on the Work and Legacy of Sir Ernst Gombrich. Paul Holberton Publishing, 2014.
Сноски
1
О венском искусствознании см. самые последние публикации: Geistiges Leben im Österreich der Ersten Republik: Auswahl der bei den Symposien in Wien vom 11. bis 13. November 1980 und am 27. und 28. Oktober 1982 gehaltenen Referate. Oldenbourg Akademieverlag, 1986; Klassische Texte der Wiener Schule der Kunstgeschichte: Gesammelte Aufsätze. Bd. 1–4 / Artur Rosenauer (Hrsg.) Facultas, 1996–2004; Feichtinger J. Wissenschaft zwischen den Kulturen: Österreichische Hochschullehrer in der Emigration 1933–1945. Frankfurt a/M: Campus, 2001; Wiener Jahrbuch für Kunstgeschichte / Wiener Schule: Erinnerung und Perspektiven. Ernst Bacher und Artur Rosenauer (Hrsg.). Böhlau Verlag, 2005; Lachnit E. Die Wiener Schule der Kunstgeschichte und die Kunst ihrer Zeit. Wien: Böhlau, 2005; Kandel E., Wiese M. Das Zeitalter der Erkenntnis: Die Erforschung des Unbewussten in Kunst, Geist und Gehirn von der Wiener Moderne bis heute. München: Siedler, 2012.
2
Gombrich E. An Autobiographical Sketch // Idem. Topics of our Time. Twentieth-centuries Issues in Learning and Art. London: Phaidon, 1991. Р. 12.
