Степан Ванеян - Гомбрих, или Наука и иллюзия. Очерки текстуальной прагматики

EINE KURZE WELTGESCHICHTE FÜR JUNGE LESER. Köln, 1985.

THE USES OF IMAGES: Studies in the Social Function of Art and Visual Communication. London, 1999.

THE PREFERENCE FOR THE PRIMITIVE. London, 2002.

MEDITATIONS ON A HOBBY HORSE and other Essays on the Theory of Art. London, 1963.

Meditations on a Hobby Horse or the Roots of Artistic Form (1951) – Visual Metaphors of Value in Art (1954) – Psychoanalysis and the History of art (1954) – On Physiognomic Perception (1962) – Expression and Communication (1962) – Achievement in Medieval Art (translation of “Wertprobleme und mittelalterliche Kunst”, 1937) – André Malraux and the Crisis of Expressionism (1954) – The Social History of Art (review of A. Hauser, 1953) – Tradition and Expression in Western Still Life (review of C. Sterling, 1961) – Art and Scholarship (1957) – Imagery and Art in the Romantic Period (review of D. George, 1949) – The Cartoonist’s Armoury (1963) – The Vogue of Abstract Art (The Tyranny of Abstract Art, 1958) – Illusion and Visual Deadlock (How to Read a Painting, 1961).

NORM AND FORM. Studies in the Art of the Renaissance, I. London, 1966. 2nd. ed., 1971.

The Renaissance Conception of Artistic Progress and its Consequences (1958) – Apollonio di Giovanni: A Florentine Casone Workshop seen through the eyes of a Humanist Poet (1955) – Renaissance and Golden Age (1961) – The Early Medici as Patron of Art (1960) – Leonardo’s method for working out compositions (Conseils de Léonard sur les esquisses de tableaux, 1954) – Raphael’s Madonna della Sedia (1956) – Norm and Form (Norma e forma, 1963) – The Renaissance Theory of Art and the Rise of Landscape (Renaisssance Artistic Theory and the Development of Landscape Painting, 1953) – The style all’ Antica: Imitation and Assimilation (1963) – Reynolds’s Theory and Practice of Imi tation (1942).

SYMBOLIC IMAGES. Studies in the Art of the Renaissance, II. London, 1972.

Introduction: Aims and Limits of Iconology – Tobias and the Angel (1948) – Botticelli’s Mythologies, a study in the Neoplatonic Symbolism of his Circle (with a new preface and appendix, 1945) – An Interpretation of Mantegna’s “Parnassus” (1963) – Rapael’s Stanza della Segnatura and the nature of its symbolism – Hypnerotomachiana (expanded, 1951) – The Sala dei Venti in the Palazzo del Te (1950) – The Subject of Poussin’s Orion (1944) – Icones Symbolicae: Philosophies of symbolism and their bearing on art (revised and expanded from Icones Symbolicae, the visual Image in Neo-platonic thought, 1948).

THE HERITAGE OF APELLES, Studies in the Art of the Renaissance, III. Oxford, 1976.

Preface – Light and Highlights: The Heritage of Apelles; Light, Form and Texture in Fifteenth Century Painting North and South of the Alps (1964) (revised) – Leonardo da Vinci’s Method of Analysis and Permutation: The Form of Movement in Water and Air (1969) – The Grotesque Heads (1954) – Jerome Bosch’s “Garden of Earthly Delights”: The Earliest Description of the Triptych (1967) – As it was in the Days of Noe (1969, under the title “A Progress Report”) – Classical Rules and Rational Standards: From the Revival of Letters to the Reform of the Arts: Niccolò Niccoli and Filippo Brunelleschi (1967) – The Leaven of Criticism in Renaissance Art (1968) – The Pride of Apelles: Vives, Dürer and Brueghel (1973).

IDEALS AND IDOLS. Essays on Values in History and in Art. Oxford, 1979.

The Tradition of General Knowledge (1962) – In Search of Cultural History (1969) – The Logic of Vanity Fair (1974) – Myth and Reality in German Wartime Broadcasts (1970) – Research in the Humanities: Ideals and Idols (1973) – Art and Self-Transcendence (1970) – Art History and the Social Sciences (1975) – Canons and Values in the Visual Arts: A Correspondence with Quentin Bell (1976) – A Plea for Pluralism (1971) – The Museum: Past, Present and Future (1977) – Reason and Feeling in the Study of Art (Erasmus Prize Lecture) (1975).

THE IMAGE AND THE EYE. Further Studies in the Psychology of Pictorial Representation. Oxford, 1982.

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).