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ERNST GOMBRICH AND MAX DVOŘÁK

100%
Woodfield R.
ARS
|
2011
|
vol. 44
|
issue 1
125-138
EN
Ernst Gombrich stated that reading Max Dvořák convinced him that the art of the past “offered an immediate and exciting access to the mind of bygone ages”. The paper documents his involvement with Dvořák from his school-leaving essay, through his experience at university, into his essays for Kritische Berichte and then into his later career at the Warburg Institute. It will argue that although Gombrich rapidly came to criticise the notion of “immediate” access, it nevertheless raised problems that stayed with him through his career and thus exercised a benign influence on his development.
2
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ERNST HANS GOMBRICH: JEHO KONCEPCIA DEJÍN UMENIA, METODOLOGICKÉ VÝCHODISKÁ A PRÍSPEVOK K CHÁPANIU MODERNÉHO VÝTVARNÉHO UMENIA

88%
Migašová J.
ESPES
|
2017
|
vol. 6
|
issue 1
29 – 39
EN
The paper is the contribution approach to interpretations of Ernst Gombrich’s contribution to the understanding of modern fine art. The basis of the paper stems out from knowledge of domestic and foreign interpretations of Gombrich’s art history concept (Bakoš, Mikš, Kesner, Hříbek, Elkins etc.). The main hypothesis of the paper is idea that Gombrich’s posthumously published work The Preference for the Primitive (2002) is, in spite of legitimate critiques on the part of contemporary art historians, not solely contribution to the primitivism phenomenon, but also to the understanding of modern art by its own historical perspective.
3

GOODMAN A GOMBRICH O POVAHE OBRAZOVEJ REPREZENTÁCIE A REALIZME ZOBRAZENIA

75%
Hrkút J.
Filozofia (Philosophy)
|
2021
|
vol. 76
|
issue 1
31 – 45
EN
The aim of the paper is to examine the criteria of realism applied to pictorial representations by Ernst Gombrich and Nelson Goodman. In the 2nd half of the 20th century, they both developed theories as to why some artefactual depictions seem more realistic to us than the others. In both approaches, there is a rejection of classical mimetic doctrine (there is a brief introduction to modern mimetic theory represented by Catherine Abell) as well as a criterion of visual illusion. What makes Gombrich and Goodman different is the assessment of informativeness criterion. While it is sufficient for Gombrich, Goodman goes even further in his relativization. Goodman also rejects informational content as the criterion of realism. The final criterion in Goodman's conception is based on the so-called inculcation. The paper examines the persuasiveness of Goodman’s and Gombrich’s arguments and mentions the current discussion (Mitrovic, Margolis, Briscoe) on them.
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