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Gombrich mnoha tváří

100%
Bartlová M.
Umění (Art)
|
2018
|
vol. 66
|
issue 6
519-525
EN
The last contribution from the cycle Looking Back is devoted to one of the most influential art-historical books of the second half of the 20th century. Art and Illusion by Ernst H. Gombrich was published in Czech translation in the middle of the eighties and was reviewed three times in the periodical Umění/Art (1966, 1969 and 1986). This contribution recapitulates these reviews and other theoretical studies directly devoted to this book. It also investigates the question of the overall influence of Gombrich’s theory of art history in the Czech art-historical environment and shows that Gombrich was read here paradoxically not in confrontation with the influential theories of Hans Seldmayr, but in hybrid fashion through them. It also deals with the political circumstances that influenced the reception of Gombrich’s thinking in our country, especially in connection with his close relationship to the ideas of Karl Popper (which were explicitly censored by the regime of the communist party dictatorship).
CS
Poslední příspěvek z cyklu Ohlédnutí se věnuje jedné z vůbec nejvlivnějších uměleckohistorických knih druhé poloviny 20. století. Umění a iluze Ernsta H. Gombricha vyšla v českém překladu v polovině osmdesátých let a byla v časopise Umění recenzovaná třikrát (1966, 1969 a 1986). Příspěvek rekapituluje tyto recenze i další teoretické studie, které se knize přímo věnovaly. Zkoumá také otázku celkového vlivu Gombrichovy teorie dějin umění v českém uměleckohistorickém prostředí a ukazuje, že Gombrich zde byl paradoxně čten nikoli v konfrontaci s vlivnými teoriemi Hanse Seldmayra, nýbrž hybridně jejich prostřednictvím. Zabývá se rovněž politickými okolnostmi, které měly vliv na recepci Gombrichova myšlení u nás, a to zejména v souvislosti s jeho těsným vztahem k idejím Karla Poppera (jež byly explicitně cenzurovány režimem diktatury komunistické strany).
2

Ten Reasons Why E. H. Gombrich is not Connected to Art History

85%
Elkins J.
Human Affairs
|
2009
|
vol. 19
|
issue 3
304-310
EN
This is a speculative essay on the place of E. H. Gombrich in art history. Gombrich is universally known, and still often studied at the undergraduate and graduate levels. He is indispensable for the historiography of the discipline. But at the same time, he is not often cited, and his work is not usually part of the ongoing conversations of the current state of art history or visual studies. This brief essay questions that condition.
3

Introductory: Gombrich's Struggle Against Metaphysics

80%
Bakoš J.
Human Affairs
|
2009
|
vol. 19
|
issue 3
239-250
EN
The paper deals with E. H. Gombrich's lifelong polemics against metaphysics in art history and the humanities. They began in 1937 and continued up until his final (posthumous) book The Preference for the Primitives. Analyzing the "fallacies" and "pitfalls" resulting from metaphysical collectivism, essentialism, expressionism, holism and relativism such as a "belief in hypostatized collective personalities" and "style as a super-artist" or "physiognomic fallacy", Gombrich also unmasked their ideological implications. He first targeted nationalism and racialism, then the perils of totalitarianism and finally all forms of relativism. Gombrich's plea for the universality of the "canon of excellence" can be regarded not only as a defence of humanism but also as a form of apology for the values of Western liberal democratic society.
4

Gombrich and the Problem of Relativity of Vision

80%
Kesner L.
Human Affairs
|
2009
|
vol. 19
|
issue 3
266-273
EN
The essay argues that Ernst Gombrich's views are relevant to the critical examination of the notion of the relativity and historicity of vision which has been widely accepted as one of the central axioms shared by visual studies, art history and film studies.
5

Cold-War Twins: Mikhail Alpatov'sa Universal History of Artsand Ernst Gombrich'sthe Story of Art

70%
Azatyan V.
Human Affairs
|
2009
|
vol. 19
|
issue 3
289-296
EN
This article deals with the "afterlife" of a methodological disagreement in the Vienna School of Art History between the positions of Alois Riegl and Julius von Schlosser in Mikhail Alpatov's and Ernst Gombrich's art history survey texts published during the Cold War on different sides of the Iron Curtain. Though these surveys are methodological antipodes, the difference itself, I argue, is possible only within the framework of the larger art historical discourse they share. In addition, I will draw on the radical ideological critique of Alpatov's survey inside the Soviet Union and the case of the Stalinist survey meant to replace it, in order to address the ideological commonality between Alpatov's and Gombrich's surveys.
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