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Sir Ernst Gombrich and the Barber from Tuscany

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Lang K.

Human Affairs

2009

vol. 19

issue 3

259-265

In the spirit of Sir Ernst Gombrich, this essay uses an anecdote-a chat between Gombrich and a barber from Tuscany-to illustrate a deeper point, namely, how cultural memory, tradition, and a canon give rise to an implied language of culture and cultural value. Gombrich staunchly defended tradition against relativism. By relativism, he meant something like "radical subjectivism." To his mind, subjectivism (in the cultural and social sense of the term) is not only impossible, since meaning is conferred through culture and society, but it is also dangerous (in the cultural and ethical sense of the term), since it denies the existence of shared values. Against consensus on the one hand and radical subjectivism on the other, Gombrich advocated a middle way: criticism and self-criticism to ensure latitude; the search for "truth" to ensure a limited plurality of interpretations.

E. H. Gombrich's Adoption of the Formula form Follows Function: A Case of Mistaken Identity?

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Michl J.

Human Affairs

2009

vol. 19

issue 3

274-288

This article is a longer note on what is a minor problem in the oeuvre of a great art historian. Its theme is E. H. Gombrich's use of the formula form follows function as the summary of his commonsense approach to the problem of style change. Although I am not sure how interesting this inquiry is in an art historical context, from the perspective of my own field of design history and of modernist design theory, Gombrich's adoption of the formula constitutes an intriguing problem.

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2 Human Affairs

1 Lang K.

1 Michl J.

2 2009

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Sir Ernst Gombrich and the Barber from Tuscany

E. H. Gombrich's Adoption of the Formula form Follows Function: A Case of Mistaken Identity?