Art

The Story of Art

The Story of Art

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  • Type：Epub+TxT+PDF+Mobi
  • Create Date：2021-08-23 08:54:30
  • Update Date：2025-09-06
  • Status：finish
  • Author：E.H. Gombrich
  • ISBN：0714832472
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Summary

The Story of Art， one of the most famous and popular books on art ever written， has been a world bestseller for over four decades。 Attracted by the simplicity and clarity of his writing， readers of all ages and backgrounds have found in Professor Gombrich a true master， and one who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject。

For the first time in many years the book has been completely redesigned。 The illustrations， now in color throughout， have all been improved and reoriginated， and include six fold‐outs。 The text has been revised and updated where appropriate， and a number of significant new artists have been incorporated。 The bibliographies have been expanded and updated， and the maps and charts redrawn。

The Story of Art has always been admired for two key qualities: it is a pleasure to read and a pleasure to handle。 In these respects the new edition is true to its much‐loved predecessors: the text runs as smoothly as ever and the improved illustrations are always on the page where the reader needs them。 In its new edition， this classic work continues its triumphant progress tirelessly for yet another generation， to remain the title of first choice for any newcomer to art or the connoisseur。

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Reviews

Mike ，

Henri Cartier-Bresson blurb: ‘Equation: Knowledge + Eye; Solution = Gombrich。’ （last page）Notes:9 The 2006 pocket edition … for portability， light weight papers， necessitating the separation of text from image。 38 primitive people made images of an enemy then hurt it … cave paintings oldest relics of universal belief in the power of picture-making 。。 the REAL animals would succumb to them40 don masks with animal features， transforming 52 Egyptian art flat because everything was portrayed in its Henri Cartier-Bresson blurb: ‘Equation: Knowledge + Eye; Solution = Gombrich。’ （last page）Notes:9 The 2006 pocket edition … for portability， light weight papers， necessitating the separation of text from image。 38 primitive people made images of an enemy then hurt it … cave paintings oldest relics of universal belief in the power of picture-making 。。 the REAL animals would succumb to them40 don masks with animal features， transforming 52 Egyptian art flat because everything was portrayed in its most characteristic angle53 drawn to significance …。 We call a man a “big boss”， they drew the boss larger than his wife or servants67 huge discovery 500 BC， foreshortening painted a foot as seen from the front81 4th c BC， interest in art for its own sake not for religious or political purposes88 Laocoon and his sons and suffocating snake appealed to a public who enjoyed the horrible sights of gladiator fights （Hellensim）103 Constantine established Christian churches … assembled in nave = ship151 Giotto realism illusion of a statue depth on flat surfaces Became famous started history of great artists178 Van Eyck invented oil painting to create detailed pictures … Middle Ages， main liquid binder was egg， but it dried quickly （= tempera） Didn’t let Eyck get smooth transitions by letting colors shade off into each other。 w/oil， he could work much more slowly and accurately … could add highlights with a pointed brush209 woodcuts， then copper plate engraving， allowing more detailed and subtle effects222 Da Vinci “the sun does not move”， anticipating Copernicus228 Mona Lisa if outlines are drawn less firmly， the form left more vague， will avoid the impression of dryness and stiffness261 Durer’s patience allowed him to add detail upon detail， within the compass of his copper plate275 Cellini 1500-71 autobio colorful， vivid picture of his age … tells of his exploits with gusto eg DumasSalt cellar 4 bandits attacked him for the gold329 Vermeer maid pouring milk a combo of mellowness and precision335 Gaulli ceiling painting picture breaks the frame breaks 4th wall 350 Hogarth， to impress， decided art needed a purpose … rewards of virtue， wages of sin 。。。 Rake’s Progress440 W Kandinsky … psychological effects of pure color … how bright red can affect us like the call of a trumpet 。。。more

May Anaghim ，

❤️

JasKing ，

This review has been hidden because it contains spoilers。 To view it， click here。 Op

Raphaela Folia ，

Το βιβλίο αυτό το μελέτησα αρκετά όταν είχα το μάθημα της ιστορίας της τέχνης。。。 αρκετά μεγάλο βιβλίο με πολύ πληροφορία

Simon Lo ，

The concluding remarks in the end are quite thought-provoking！ But I was a bit lost in the midway…first， there were many areas to cover and second， it was a big challenge to encompass nearly everything from Stone Age to the modern times！

Socrate ，

S-o spunem clar， de la început: „arta” nu are existenţă proprie。 Există doar artişti。 În timpuri foarte îndepărtate， oamenii， cu ajutorul unor bucăţi de pământ colorat， schiţau formele unui bizon pe pereţii grotelor; în zilele noastre， cumpără culori şi fac afişe: în acest interval， au realizat foarte multe lucruri。 Nu există niciun inconvenient în a numi artă ansamblul acestor activităţi， cu condiţia de a nu uita niciodată că un asemenea cuvânt capătă multe sensuri deosebite， în momente şi locu S-o spunem clar， de la început: „arta” nu are existenţă proprie。 Există doar artişti。 În timpuri foarte îndepărtate， oamenii， cu ajutorul unor bucăţi de pământ colorat， schiţau formele unui bizon pe pereţii grotelor; în zilele noastre， cumpără culori şi fac afişe: în acest interval， au realizat foarte multe lucruri。 Nu există niciun inconvenient în a numi artă ansamblul acestor activităţi， cu condiţia de a nu uita niciodată că un asemenea cuvânt capătă multe sensuri deosebite， în momente şi locuri diferite， şi de a înţelege bine că arta în abstract， Arta cu A mare， nu există。 Este evident că， în zilele noastre， această Artă cu A mare a devenit un fel de ideal， dublat de o sperietoare。 Poţi să distrugi un artist spunând că ceea ce a făcut poate că nu e rău în genul lui， dar nu e „artă“。 Şi poţi să uluieşti un om cumsecade， care admiră un tablou， spunând că ceea ce îi place în acea operă nu e arta în sine， ci cu totul altceva。În realitate， cred că nu există motive proaste ca să-ţi placă o statuie sau un tablou。 Poate să-ţi placă un peisaj pentru că îţi aminteşte de ţara ta， sau un portret pentru că evocă chipul unui prieten。 Nu-i nimic absurd în asta。 Este inevitabil – şi toţi suntem o apă şi-un pământ – ca un tablou să stârnească în noi o mie şi una de amintiri care suscită o plăcere sau o aversiune。 Atâta timp cât aceste amintiri ne ajută să apreciem ceea ce vedem， nu e cazul să ne facem griji。 Dar， dacă vreo amintire nepotrivită ne falsifică judecata， când， de exemplu， ne întoarcem instinctiv faţa de la o pictură reprezentând un peisaj alpin admirabil， pentru că avem oroare să ne căţărăm pe munte， atunci devine necesar să examinăm temeinic motivele unei aversiuni care anulează o plăcere pe care am fi putut s-o avem。 Există cu siguranţă motive injuste de a dispreţui o operă de artă。 。。。more

ur mom ，

This is somehow the best， and yet the longest， non-fiction I have ever read。 Gombrich states in the preface that the book was aimed towards a teenage audience， and this is clear through the brilliant enthusiasm with which he speaks to the reader。 While others may have seen this as a flaw， it really made the reading experience worth it for me。 I love that Gombrich recognises the intelligence of a teenage audience and does not shy away from details- the book packs a punch （educationally）。 I didn't This is somehow the best， and yet the longest， non-fiction I have ever read。 Gombrich states in the preface that the book was aimed towards a teenage audience， and this is clear through the brilliant enthusiasm with which he speaks to the reader。 While others may have seen this as a flaw， it really made the reading experience worth it for me。 I love that Gombrich recognises the intelligence of a teenage audience and does not shy away from details- the book packs a punch （educationally）。 I didn't truly realise just how much I learned from this book until I went to the National Gallery with my friend and there was just so much to talk about and so much to see and appreciate within each painting。 If， like me， you're an absolute beginner in art history and are willing to put the time into a heavy （reeaaaalllll heavy） and lengthy book then make this that book because you will come out of this educated and extremely pleased， hopefully。 。。。more

Mandy Chen ，

When I first read the book， I felt slightly bored， but after reading the book carefully， I really enjoyed and learned a lot from the book The Story of Art; compiled by E。 H Gombrich。 The book describes the development of experimental art from the earliest cave painting to the first half of the 20th century。 The book covers an immense amount of content in it， including painting， sculpture and architecture。 I think if it was any other literature of art history， it would take a lot of courage to lo When I first read the book， I felt slightly bored， but after reading the book carefully， I really enjoyed and learned a lot from the book The Story of Art; compiled by E。 H Gombrich。 The book describes the development of experimental art from the earliest cave painting to the first half of the 20th century。 The book covers an immense amount of content in it， including painting， sculpture and architecture。 I think if it was any other literature of art history， it would take a lot of courage to look at 600 or 700 pages book。 Fortunately， this book is easy to understand， and the concise and clear language expressed serious topics fluently。 The author narrates the complicated history of art development to the readers with his own words， understanding， and perspective。 From the origin， formation， and maturity of art， as well as the revival， return， revolution and crisis again and again， the evolution of Western art is clearly shared with readers without any confusion。 I would highly recommend this book to anyone who wants to read and learn about Westen art and its history without getting bored during the process。 。。。more

Aurora Saucedo ，

This book does demand a little self-denial since it informs， yet transforms masterpieces into just pieces， while making you interpret them in a different way。The book is long， still not able to portray EVERY art style obviously。 Even though artists like Peter Vischer were excluded， there’s a fair amount of german art and sculptures。I recommend this if you want a good art panorama， a nice museum-like experience。

M Way ，

Read parts of this book in Art History 101 in college but now read cover to cover and can appreciate it so much more。 Very accessible overview of mostly Western art。 The photos of art referred to are on the adjacent page so there is no searching the book as in other art history books。 First published in 1950 with last edition in 1995 so is not up to date but it is excellent about the basics。 Great for anyone who travels or loves museums and art！ Really an easy enjoyable read。

Diana ，

An insightful book， definitely recommend to everyone who wants to learn about art， amateur or professional。 It could work great as a starting guide， which you can come back to anytime。

Klemen ，

The kind of book where you can feel your knowledge leveling up as you read。 Gombrich is an easy to understand writer with a vast chamber of knowledge。 He knows exactly what to say and what to leave out。 I started reading books about art history to catch up to some of my peers in visual design college and I now feel like I've gotten even more than those who had been learning art history in school for years。 Gombrich knows that what we humans recognize are patterns and a story is a pattern of info The kind of book where you can feel your knowledge leveling up as you read。 Gombrich is an easy to understand writer with a vast chamber of knowledge。 He knows exactly what to say and what to leave out。 I started reading books about art history to catch up to some of my peers in visual design college and I now feel like I've gotten even more than those who had been learning art history in school for years。 Gombrich knows that what we humans recognize are patterns and a story is a pattern of information。 We like them so much， we even learn them for fun。 He uses the story format to convey a sense of consistency throughout the things he's trying to get across and succeeds in making his readers retain that knowledge。 。。。more

Facey Nancy ，

Hello views， I am so excited to share this wonderful story here 。I was diagnosed with herpes virus and I was told there was no cure except medication that can control it， I totally lost hope， all I could think was losing my life because I was so depressed and confused about the whole situation ， few weeks ago I read about Dr Oso online how he cured someone from cancer which was guaranteed， but i never still believe on it but i decided to give a try on him so I ordered the medicine after using it Hello views， I am so excited to share this wonderful story here 。I was diagnosed with herpes virus and I was told there was no cure except medication that can control it， I totally lost hope， all I could think was losing my life because I was so depressed and confused about the whole situation ， few weeks ago I read about Dr Oso online how he cured someone from cancer which was guaranteed， but i never still believe on it but i decided to give a try on him so I ordered the medicine after using it for few days i started experiencing changes all over me so i waited until i finish using the medication， so after everything I went for blood test to confirm if i am really healed from this virus to my greatest surprise it came out negative i jump up and shattered oh my goodness what a wonderful miracle i never believed in 。 I am so excited to share my testimony。 Thank you so much Dr Oso 。 You are a great man。 I must tell everyone I know who has any kind of disease or virus。 you can also email him on via drosohaberhome@gmail。com or Call/Whatsapp +2348162084839you can check on Dr oso site : https://sites。google。com/view/drosoha。。。you can also contact me for more info about Dr Oso faceynancy1@gmail。com 。。。more

Christine ，

I love the fact that reviews for this book are in so many languages。 It attests the quality of the book and the universal appreciation for art。 This is a very dense book even though as the author said that it really only scratched the surface of art in our long and diverse history。 It's a great art book for the lay readers without condescension。 I'm especially thankful that he tried to explain the reasons behind each great revolution in art， what questions the artists were trying to answer。 This I love the fact that reviews for this book are in so many languages。 It attests the quality of the book and the universal appreciation for art。 This is a very dense book even though as the author said that it really only scratched the surface of art in our long and diverse history。 It's a great art book for the lay readers without condescension。 I'm especially thankful that he tried to explain the reasons behind each great revolution in art， what questions the artists were trying to answer。 This is extremely helpful understanding modern art from cubism to abstract。 The last chapter was a cumulative amendment with subsequent publications， keeping up with new contemporary development as well as discoveries of the ancient past。 This in itself is a great illustration of the story of art。 。。。more

Tejas Sathian ，

What a tremendous resource for learning about art - and instantly an all-time favorite book of mine。 The narration is engaging and accessible， and the setup of this edition （with text in front and illustrations arranged in back） made it easy to follow along and study each exhibit。 I gained a real appreciation for the overall ’story of art’ - the themes at play and problems and solutions faced by and encountered by art in various historical and social contexts - as well as fantastic introductions What a tremendous resource for learning about art - and instantly an all-time favorite book of mine。 The narration is engaging and accessible， and the setup of this edition （with text in front and illustrations arranged in back） made it easy to follow along and study each exhibit。 I gained a real appreciation for the overall ’story of art’ - the themes at play and problems and solutions faced by and encountered by art in various historical and social contexts - as well as fantastic introductions to many significant artists。 The original book was published shortly after WW2， and since then Gombrich added several additional intro and conclusion sections in subsequent editions， which can be found here and serve as nice time capsules。 The central takeaways of this book for me are 1） there is no art without artists 2） the story of art is a nonlinear one without any defined endpoint， with plenty of zigs and zags， as solutions are devised to solve problems which then open up new problems 3） art requires some societal/historical motivational core （the grain at the center of a pearl） to thrive。* Primitive art - drawing faces from individual shapes; evolution from there to new types of art was not about advances in technology， but changes in ideas （of what should be depicted and how）* Egypt - particular style of painting， everything follows set laws （depicting human body parts in different ways / planes based on how they were best conveyed rather than how they appeared） - little evolution over time （until Tut， new ways of depicting）; sacred purpose of portraits in tombs。 Painting from knowledge。 * Greek revolution: bursts of creativity， adherence to Egyptian technique combined with freedom to deviate from sacred rules on human form; beginnings of foreshortening; Athenian democracy ~ evolving identity of artists; paintings / statues alongside poems and plays as things to discuss。 Portraits evolved later in Greek era - sculptures of Alexander。* Hellenistic art - Greek civilization spread via Alexander， into ‘Hellenistic’ world。 Art became intentionally more impressive （Corinthian columns evolving from Doric/Ionic）。 Rich people collecting art made artists more important; prevalence of art in Pompeii （an otherwise ordinary provincial town in Hellenic world） illustrates this evolution * Rome - borrowing things they liked from Greece; triumphal arches / columns （influenced sacred depictions in Jewish， Indian art） * Religion and art - what can / should be depicted？ Pope Gregory - art educates the illiterate and has important purpose * Major significance of Byzantine art - images as holy， maintained old eastern / Egyptian traditions and fused to religious art - preserved traditions for later eras， provided bridge to Renaissance* Middle ages / dark ages * Local tribal art fused with Christianity * Egyptians painted what they knew; Greeks what they saw; Middle Ages what they felt （religious depictions convey this）。 Middle Ages survival bias - religious art lasted， privately owned art destroyed * Evolution of Norman / Romanesque architecture styles。 Gothic - extension of Romanesque， greater use of arches， expanding into stained glass。 Gothic art - methods of art as means to end， of telling sacred stories better * Giotto （Florence 13th century） - begins era of artist as part of history of art; first artist to harness Hellenistic technique preserved by Byzantines， add creativity， and transform Gothic lifelike sculpture into painting * International style （14th century） - Italian （kept Byzantine art alive） and French ideas spread across Europe; depicting nature became important -> depicting humans accurately -> renewal of classical styles* Renaissance - key pillars: 1） scientific / mathematical perspective 2） close observation of nature / understanding of human anatomy 3） learning from antiquity / classical forms of sculpture， architecture， art * Early Renaissance pioneers: Brunelleschi， Donatello （architecture， sculpture） * Northern vs Southern Renaissance: Italian art began with scientific perspective / outlines / understanding of body; Dutch added detail upon detail to resemble reality （van Eyck - oil painting） * High Renaissance in Florence / Rome - changing status of artist， determination to be more than craftsman， equal with scholar or poet。 Leonardo - use of science to elevate painting above humble art; sfumato technique - blurring of outlines + mellow colors allowing merging of forms， leaving more to viewer’s imagination。 Michelangelo - papal commissions， extended Leonardo’s focus on human body and emphasized this exclusively， accurate painting of form。 Raphael - ‘idea of beauty’， simplicity of Madonnas， fluidity of bodies in motion。 * Venice - Titian， expert handling of paint - allowed to break rules of composition （position of virgin etc） and make up for it with colors。 Bellini， Correggio - use of color and light to balance forms。 Importance of color in Venice， influenced by eastern linkages。 * Spread into north。 Durer - studied in southern Europe and traveled to Venice as artist; combined northern （earlier Gothic） style （nature， extreme detail） with Italian Renaissance ideals of beauty - to tell sacred stories。 Bosch - synthesis of old （primal fears， depictions of evil） with new （methods of portraying）* Later Renaissance - crises of art in 16th century; idea that art had reached perfection in Renaissance， so what to do next？ * Mannerism （imitation of Michelangelo）， Parmigiano， Cellini - quest for unusual / interesting even at expense of natural beauty （modern） * Southern art: Tintoretto - legacy of Titian painting， fused with mystery - feel thrill and tension of drama （St Mark’s remains， St George / dragon）。 El Greco - Spanish mysticism， also realist portraiture * Reformation challenges in north - outlawing of religious imagery removed major market for art。 Great artists left for England - Holbein the Younger - portraits of masterly restraint painted at Henry VIII court。 Dutch art survived Reformation best - genre paintings， follies of everyday life - Bruegel the Elder * 17th century: Baroque / neoclassical art， following from Greco / Tintoretto （complicated compositions， showcasing light and color） * Rome: schools of Caracci v Caravaggio。 Caracci - classical scenes， beauty， inspiration by Raphael - development of neoclassical style （influenced Reni， Poussin， Lorrain - who influenced later landscape painters）。 Caravaggio - naturalism， faithful looks at nature， truth over beauty - unafraid to paint ugliness of reality。 * Rubens - synthesis of Caracci （classical scenes） with Caravaggio （naturalism） and Flemish/Dutch tradition （not focused on standards of beauty， attention to detail）。 Ability to make scenes （large scale or portraits） come to life in ‘painterly’ way。 * Artists influenced by Rubens。 Van Dyck - painter at court of Charles I， elegant portraits of royals。 Velásquez - court of Philip IV in Spain， learned from Italy - inspired initially by Caravaggio， then by Rubens and Titian; forerunner of Impressionism， capturing real moments （Las Meninas） * Protestant Northern Europe: changing marketplace post-Reformation; commission practice ending， so artists had to sell art to public， leading to greater specialization。 Growing embrace of idea of ‘picturesque’ landscapes。 Rembrandt - etchings， inspired by Caravaggio; self portraits， portraits - sense of being face to face with real people， illustrating depth of souls， displaying ability to understand all types of men; light and shade used to enhance scene’s drama。 Still lifes - subject became incidental to importance of painting。 Vermeer， still lifes with people - unique contrast of mellowness / precision * 18th century: peak of Baroque art/architecture around 1700 * Versailles as epitome of baroque styling （without baroque approach would be monotonous）; boom in similar palaces and monasteries around Europe。 Decline in importance of individual arts - art focused on building these grand spaces。 * England。 St Paul’s - baroque or not？ Restrained， Italian Renaissance styling， church as place for contemplation not otherworldly vision。 Country house > palace; classical stylings that don’t break rules; legacy of Claude Lorrain。 Hogarth - moral tales in engravings。 Reynolds （founded Royal Academy） vs Gainsborough; parallel to Caracci/Caravaggio。 Reynolds - favored imitation of Italian Renaissance masters （similar thinking to Caracci）， elevation of painting as intellectual pursuit， importance of painter’s ideas; paintings sometimes a bit labored。 Gainsborough - simplicity， nature as teacher， straightforward portraits emphasizing good brushwork， and landscapes。 * New directions around French Revolution: growing collector taste for novelty; shift from old ways of teaching to academies （created new crises of lack of interest in new art vs old， and unsubtle works at academy shows）; embrace of older styles （Classical Greek， Gothic） in favor of baroque / rococo / neoclassical architecture in US。 * Portrayal of recent history and heroic figures with lessons for present - Copley， Jacques-Louis David。 Goya - portraits in style of old masters （Van Dyck ） with artistic skill of Titian， but new eyes and lack of flattery。 Romantic poetry spilling into painting - painting from inner vision， Goya and Blake。 * Popularity of landscapes - 2 camps in England。 Turner - obsessed with improving on traditions （Claude Lorrain） - motion and complexity， human emotion reflected in nature。 Constable - no need for trickery， honest simplicity best - don’t outshine nature。* 19th century: industrial revolution， mass production， decline in public taste - conflict between artists and public， split between artists doing ‘official’ work and those outside mainstream。 Paris as center of art world。 * France: Ingres （conservative painter following David， technical smooth perfection） vs Delacroix （movement， excitement of a scene）。 Corot as a bridge in approaches: capture truth in general forms / tones - achievements of palette （use of colors harmonized with gradation of tone）。 Barbizon school - following Constable， seeing nature with fresh eyes; Millet - landscape approach taken to figures; Courbet - realism a la Caravaggio。 Rossetti， pre-Raphaelite brotherhood， truth over beauty - artistic dead end？ * Impressionism - beginning of idea of art as studying/solving particular problems。 Manet - revolution in depicting colors; classical masters of color as inspiration （Titian， Velásquez， Goya）; illusion of depth via simple flat forms。 Monet - painting in front of motif rather than studio; technological changes e。g rapid strokes and no time to mix paints， effect of whole over specific details。 Renoir - inspired by crowd scenes （following Jan Steen）， but shifted focus onto effect of light。 Degas - ballet， unexpected angles used to study space / forms; objective / dispassionate （interest in movement / space， not in beauty of subject）。 Rodin - unfinished looking works。 Contributing factors to development of Impressionism: 1） photography （art needed to evolve new aims） 2） Japanese woodblock prints becoming prevalent and introducing new ideas of perspective / completeness。 Ideas around Impressionism - ideas of finishedness （borrowed from Rembrandt - artist’s right to declare when finished）; overcoming knowledge of form as obstacle to enjoyment。* Late 19th century: triumph of Impressionism， what next？ 3 post impressionist masters - dissatisfied in different ways， led to new traditions of modern art。 Shared willingness to sacrifice correctness of outlines to accomplish different aims。 None of these artists were well-known/understood in their times。 * Cezanne - felt order/balance lost in Impressionist messiness; sought reconciliation of methods of Impressionism （paint what one saw） with balance/harmony （‘paint Poussin from nature’）; influenced Cubism * Van Gogh - felt intensity / passion of art was lost in focus on visual impression。 Brushstrokes to convey artist’s excitement （flamelike strokes）; influenced Expressionism * Gauguin - dissatisfied generally with life and art， aimed for simplicity through exploration of native culture; influenced Primitivism* Modern art。 Influence of architecture - Bauhaus， functionalism。 Extension of ideas of what painter should paint - paint what he sees？ We can’t separate what we see from what we know。 * Expressionism - painting of feelings， Munch’s scream; focus not just on pleasant things。 Abstract art - Kandinsky first to paint without recognizable object。 * Fauvism - Matisse， 1900s Paris。 Decorative simplification， use of colors。 Cubism， Picasso - problems of form; one solution to essential tension in art （depth on surface）， experiments in modeling; recognizable objects， pictures made of uniform parts so whole looks consistent in spite of unfamiliarity。 Return to Egyptian principles of painting from knowledge of objects。 Klee - new possibilities of forms， nature creates through artist; artist creates something new rather than replicating reality。 * Primitivism - lasting effects of Gauguin， theme that influenced much later art - quest for native/childlike simplicity - Rousseau， Chagall， Wood。 Surrealism - Freudian inspiration， dreamscapes; Magritte （self portrait of artist creating new reality）， Dali。 Pollock， start of AbEx - unifying two strands 1） childlike simplicity / spontaneity 2） sophisticated interest in problems of painting* What drives art？ Core task set by community / society; always new challenges to pursue even as art evolved， new solutions led to new challenges。 Modern art - prevalence of old/new theories provide core impetus for art’s evolution。 。。。more

Paula ，

realmente le pondría 4，25 estrellas pero tengo que redondear porque no se pueden poner ni cuartos ni mitades :（

Soledad Fernández Lucena ，

Está escrito en un lenguaje bastante sencillo que hace que cualquiera que tenga interés en el asunto pueda leerlo。 Las únicas pegas que puedo ponerle son lo pesado que es （podrían venderlo en dos tomos， aunque igual ya hay alguna edición así） y que sólo aparece una mujer artista。

Charles Maher ，

This was a study book for my Art Degree course。 An excellent， essential and very useful reference book for anyone studying or interested in Art history or even just interested in art; I've not read through every page but it's one of those essential study books that one is always delving into and one that you want to keep on your bookshelf to dip into when you need to reference something。 This was a study book for my Art Degree course。 An excellent， essential and very useful reference book for anyone studying or interested in Art history or even just interested in art; I've not read through every page but it's one of those essential study books that one is always delving into and one that you want to keep on your bookshelf to dip into when you need to reference something。 。。。more

Sofia Hou ，

It’s not really a story of global art but a story of Western Art。

ozcankrtn ，

Bir başucu kitabı olarak; Sanatın Öyküsü。 Bu kitap görsel sanatı okumak ve anlamak yolunda önemli bir adım atmanızı sağlayacak en önemli eser。 Görme biçiminizi size kattıkları ile düzenleyerek sanattan aldığınız zevki arttıracak olacak bir başyapıt。

Ahsan Rip ，

This review has been hidden because it contains spoilers。 To view it， click here。 আমার আব্বার করোনা পজেটিভ 😭 উনি বিদেশে আছেন।সবাই আমার আব্বার জন্য দোয়া করবেন।আমার আব্বা ছাড়া আপন৷ কেউ নাই।😭😭 বিদেশে একা আছেন， আল্লাহ ছাড়া উনাকে দেখার মতো কেউ নাই।সবাই দোয়া করবেন আমার আব্বার জন্য 😭🙏।আল্লাহ আমার আব্বাকে সুস্থ করে দিন।আমিন🙏🙏😭😭

Yash Kumar ，

This is an incredible book。 When you start reading it there is no chance of you getting bored。People who love art and love reading will really find this book intresting。As well as being a lot of fun， The Story of Art is essential reading for anyone curious about Western art: even the critics of canons need to know what is in them， and it has been influential enough that it comes close to defining one。

Negar Taghizadeh ，

صرفا به‌ خاطر این‌که یه گشتی زده باشم توی کتابی که قراره باهاش سال کنکور سروکله بزنم، روزنامه‌وار（کلمه درستیه؟ روزنامه‌طور؟） خوندمش。

Braden ，

All I can say about this book is that it will probably be one of those life-changing books that puts me on new paths and I will remember for the rest of my life。 I have been overwhelmed the past few years with the excitement， joy， and curiosity that various forms of art have brought to me， in the forms of film， TV， and literature。 I have looked back on the early childhood years of my life and remembered moments and events that I did not realize at the time were signs that art was one of my calli All I can say about this book is that it will probably be one of those life-changing books that puts me on new paths and I will remember for the rest of my life。 I have been overwhelmed the past few years with the excitement， joy， and curiosity that various forms of art have brought to me， in the forms of film， TV， and literature。 I have looked back on the early childhood years of my life and remembered moments and events that I did not realize at the time were signs that art was one of my callings。 Watching my older sister's plays and musicals and group interpretation performances is one of my favorite memories。 I was always more excited than anybody else in my family or friends to watch a movie。 I talked with classmates at school about the books I read at home。 I never gave it much thought until one day I found myself reading about how a movie was made， and the director's thought process behind making some of the unique creative choices that he made。 And I thought to myself that I was never going to stop learning about movies and watching almost every day， and that fascination spread to other mediums as well。For a long time now， a couple years at least， I have been meaning to learn more about Art （with a capital "A"）， namely paintings， sculpting， architecture， etc。 This book is a near-perfect encapsulation of all the facts that rest in this category。 It is not perfect because， as this very book points out， there is no such thing as a perfect summary of the history of Art。 But this comes close。Gombrich teaches us how art is affected by everything - the economy， political movements， geography， technology， religion， etc。 He talks about the earliest cave drawings all the way up to the modern day。 He does ignore too much of non-white-male art， however。 But he does a great job at showing how everything ties together， how the history of art， like anything， is not a straight line。 It's a web of everything， and one question always leads to a million others。This gave me so many great points to jump into to read more specific works about certain movements or locations or even artists。 I look forward especially to reading more about the masters like da Vinci， Raphael， and Michelangelo （they were all very interesting people even without the art）， and about the early pioneers like the Egyptians and Greeks。 。。。more

Lovian ，

The whole story is really fantastic

Wu Shih ，

Più che una storia， una filosofia dell'arte， un'analisi lucida e puntuale sull'evoluzione della stessa nel corso del tempo。 Imprescindibile。 Più che una storia， una filosofia dell'arte， un'analisi lucida e puntuale sull'evoluzione della stessa nel corso del tempo。 Imprescindibile。 。。。more

Cepenal ，

This story is actually great。

Arupratan ，

আমি একদমই ছবি আঁকতে পারি না। ডোনাল্ড ট্রাম্প আঁকতে গিয়ে ডুমুরগাছ এঁকে ফেলি। নিজে আঁকতে পারিনা বলেই অঙ্কনশিল্প （কিংবা চিত্রশিল্প） এবং অঙ্কনশিল্পী （কিংবা চিত্রশিল্পী）-দের প্রতি আমার আশৈশব মুগ্ধতা （ভাস্কর্য ও স্থাপত্যশিল্পের প্রতিও আকৃষ্ট হয়েছি পরে）। আর্ট কলেজের বন্ধুদের মুখে অহরহ নাম শুনতাম এই বইটার। ঘনিষ্ঠ এক শিল্পীবন্ধুর থেকে ধার নিয়ে বইটা প্রথম পড়ি আমি। সেই বন্ধুর ভুলোমনস্কতার （এবং ভালোমানুষির） সুযোগ নিয়ে কালক্রমে বইটিকে ঝাঁপিতং করে আমি নিজের কাছেই রেখে দিই। বড় সাইজের সুন্দর করে কাপড় দিয আমি একদমই ছবি আঁকতে পারি না। ডোনাল্ড ট্রাম্প আঁকতে গিয়ে ডুমুরগাছ এঁকে ফেলি। নিজে আঁকতে পারিনা বলেই অঙ্কনশিল্প （কিংবা চিত্রশিল্প） এবং অঙ্কনশিল্পী （কিংবা চিত্রশিল্পী）-দের প্রতি আমার আশৈশব মুগ্ধতা （ভাস্কর্য ও স্থাপত্যশিল্পের প্রতিও আকৃষ্ট হয়েছি পরে）। আর্ট কলেজের বন্ধুদের মুখে অহরহ নাম শুনতাম এই বইটার। ঘনিষ্ঠ এক শিল্পীবন্ধুর থেকে ধার নিয়ে বইটা প্রথম পড়ি আমি। সেই বন্ধুর ভুলোমনস্কতার （এবং ভালোমানুষির） সুযোগ নিয়ে কালক্রমে বইটিকে ঝাঁপিতং করে আমি নিজের কাছেই রেখে দিই। বড় সাইজের সুন্দর করে কাপড় দিয়ে বাঁধানো বইটা সবসময় আমার হাতের নাগালেই থাকে， কেবল সেই বন্ধুটি আমার বাড়িতে এলে লুকিয়ে রাখতে হয়।শিল্পের ইতিহাস， শিল্পের দর্শন， শিল্পের রকমসকম-বিষয়ক বইয়ের কমতি নেই বাজারে। কিন্তু প্রায় সত্তর বছর আগে প্রকাশিত （পরবর্তীকালে বহুবার সংশোধন ও সংযোজন করা হয়েছে যদিও） এই বইটি আজও অতুলনীয় অভিধায় ভূষিত। ক্যানো？কারণটা ধীরেসুস্থে বলছি। মানব （এবং মানবী）-মনের অতল গভীর রহস্যময়তার আভাস তার সৃষ্টির মধ্যে যতটা পাওয়া যায়， অন্য কিছুতে পাওয়া যায় না। একজন ভিনগ্রহী যদি আচমকা একজন মানুষের মুখোমুখি দাঁড়ায়， তাহলে সে বেশি অবাক হবে， নাকি সেই মানুষটার সৃষ্ট ছবি， গান， ভাস্কর্য， স্থাপত্য কিংবা সিনেমার মুখোমুখি হলে আশ্চর্য হবে？ আমি যদি ভিনগ্রহী হতাম， তাহলে পল সেজান মানুষটাকে দেখলে যতটা না অবাক হতাম （টাকমাথা， ঝোলাগোঁফ）， তার চেয়ে অন্তত পঁচাশিগুণ বেশি অবাক হতাম তাঁর তেলরঙে আঁকা "লেস্তাক্-এ বরফ গলার দৃশ্য" ছবিটা দেখলে।অবাক হবার পর্ব শুরু হয়েছে বহুযুগ আগে থেকেই। সেই যখন মানুষ অন্ধকার গুহার অভ্যন্তরে লোমশ বাইসনের রেখাচিত্র এঁকে রাখতো， তখন থেকে। কিন্তু শিল্পের সামগ্রিক এই ইতিবৃত্তকে， পর্ব থেকে পর্বান্তরে শিল্পের বদলে যাওয়ার， রূপান্তরিত হওয়ার， হারিয়ে যাওয়ার， আবার খুঁজে পাওয়ার， নতুনভাবে দেখতে শেখার কিংবা পুরোনোকে ফিরিয়ে আনার— গল্পটা বড় সহজ নয়। শুধু এক যিশু খ্রিস্টের ছবির রূপান্তর কিংবা বিভিন্ন আঙ্গিকের হদিশ খুঁজতে গেলেই বিস্ময়ে হতবাক হতে হয়। কত বিবিধ রূপে যে ভদ্রলোককে এঁকে কিংবা তাঁর মূর্তি গড়ে রেখেছে মানুষ। আজও আঁকছে， আজও গড়ছে।এই জটিল কিন্তু অসম্ভব আকর্ষণীয় গল্পটা জানতে হলে আমি জয় বাবা ভ্যান গঘের নামে শপথ করে বলতে পারি， গমরিচের বইটার চেয়ে উত্তম প্রারম্ভিক বই এই গ্রহে আর একটাও আপাতত নেই। বিশেষ করে আপনি যদি আমার মত আনাড়ি হয়ে থাকেন， যে-কিনা এক্সপ্রেশনিজম এবং ইম্প্রেশনিজম-এর মধ্যে পার্থক্যের চাইতে পোলট্রির ডিম এবং ঘোড়ার ডিমের মধ্যে পার্থক্যের বিষয়ে অধিক খবর রাখে， তাহলে এই নিয়ে বেশি কথা বাড়িয়ে লাভ নেই।যদিও， শিল্পের গল্প বলতে হলে শুধু কথার কচকচানিতে বিশেষ কাজ হয় না। নাইজেরিয়া থেকে প্রাপ্ত দ্বাদশ শতাব্দীতে তৈরি "শাসকের মস্তক" নামক ব্রোঞ্জনির্মিত মূর্তিটির শিল্পগত মূল্যমান যে আধুনিক যুগের ভাস্কর্যের চেয়ে কোনও অংশে কম নয়， এই কথাটা বোঝাতে হলে সেই মূর্তিটির একটা ছবি দেখানো দরকার। নইলে হাজার বক্তৃতাতেও কাজ হবে না। এই বইয়ের পাতায় পাতায় লিখিত বক্তব্যের পাশাপাশি গমরিচ হাজির করেছেন এরকম অজস্র （অ-জ-স্র！） দৃশ্যগত উদাহরণ। যার ফলে পাঠকের পক্ষে বিষয়টা অনুধাবন করার কাজটা অনেক সহজ হয়ে যায়। এই বিশেষ বৈশিষ্ট্যটির কারণে বইটির মূল্য আরো অনেক বেড়ে গ্যাছে！সহজবোধ্য অথচ মনোমুগ্ধকর ভাষায়， পাঠকের প্রতি আন্তরিক প্রযত্নে， সমৃদ্ধ অভিজ্ঞানে， শিল্পের মতো রহস্যময় একটি বিষয়কে বুঝিয়ে দেওয়ার জন্যে আমার মতো অনেক শিল্প-অজ্ঞ মানুষ গমরিচ-কে গুরুস্থানীয় হিসেবে মান্য করে থাকে। বইয়ের বিখ্যাত প্রথম লাইনটি এখানে লিখে রাখি :শিল্প বলে আদপে কিছুই নেই। আছেন শুধু শিল্পীরা।（"লেস্তাক্-এ বরফ গলার দৃশ্য"， পল সেজান， ১৮৭০ সাল নাগাদ অঙ্কিত）（"একজন শাসকের মস্তক"， ব্রোঞ্জনির্মিত মূর্তি， প্রাপ্তিস্থান : নাইজেরিয়া， সময়কাল : দ্বাদশ শতাব্দী） 。。。more

Alamin Sarker ，

My Facebook Page:Alamin Sarker Marketing Centre https://www。facebook。com/alaminsarker。。。 My Facebook Page:Alamin Sarker Marketing Centre https://www。facebook。com/alaminsarker。。。 。。。more

Hussein Mahfouz ，

Very rich

Reference

google book https://www.google.com/search?tbm=bks&q=The Story of Art

hathitrust digital library https://babel.hathitrust.org/cgi/ls?q1=The Story of Art&field1=ocr&a=srchls&ft=ft&lmt=ft

The British Library https://bll01.primo.exlibrisgroup.com/discovery/search?query=any,contains,The Story of Art&tab=LibraryCatalog&search_scope=Not_BL_Suppress&vid=44BL_INST:BLL01&lang=en&offset=0