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

TOPICS OF OUR TIME. Twentieth Century Issues in Learning and in Art. London, 1991.

An autobiographical sketch (1987) – The Embattled Humanities (1985) – Relativism in the Humanities (1985, 1987) – Relativism in the History of Ideas (1989) – Relativism in the appreciation of Art (1989) – Approaches to the History of Art (1989) – The Conservation our Cities (1963) – Watching Artists at Work (1989) – Plato in Modern Dress (1987) – Kokoschka in his Time (1986) – Image and Word in Twentieth Century Art (1985) – The Art of Saul Steinberg (1983) – A Master of Poster Design, Abraham Games (1990) – The Photographer as Artist, Henri Cartier-Bresson (1978).

GASTSPIELE. Aufsätze eines Kunsthistorikers zur deutschen Sprache und Germanistik. Wien, 1992.

Vorwort. Erinnerungen an Ernst Schaumann (1885–1934) – ‘Sind eben alles Menschen gewesen’. Zum Kulturrelativismus in den Geisteswissenschaften (1986) – Gotthold Ephraim Lessing: Die Beitrag Johann Heinrich Meyers (191) – Goethe und die Kunstsammlung der Brüder Boisserée: Gewinn und Verlust in der Emanzipation von der byzantinischen Überlieferung (1987) – Das Symbol des Schleiers. Psychologische Betrachtungen zu Schillers Dichtung (1985) – Eine Grillparzeranekdote (1963) – Beim Schreiden: Das Spiel mit den Dominosteinen Überlegungen eines Kunsthistorikers (1983) – Spracherlebnisse Festrede aus Anlass der Entgegennahme des ersten österreichischen Wittgenstein-Preises, Wien (1988).

THE ESSENTIAL GOMBRICH. London, 1996.

SIR ERNST GOMBRICH: AN AUTOBIOGRAPHICAL SKETCH AND DISCUSSION. London, 1996.

An Autobiographical Sketch – Old Masters and Other Household Gods – The Visual Image: its Place in Communication – On Art and Artists – Psychology and the Riddle of Style – Truth and the Stereotype – Action and Expression in Western Art – Illusion and Art – The Use of Colour and its Effects: the How and the Why – The Necessity of Tradition: an Interpretation of the Poetics of I.A. Richards – Verbal Wit as a Paradigm of Art: the Aesthetic Theories of Sigmund Freud – Leonardo’s Method for Working out Compositions – The Force of Habit – The Psychology of Styles – The Primitive and its Value in Art – Magic, Myth and Metaphor: Reflections on Pictorial Satire – Approaches to the History of Art: Three Points for Discussion – The Social History of Art – In Search of Cultural History – Architecture and Rhetoric in Giulio Romano’s Palazzo del Tè – From the Revival of Letters to the Reform of the Arts: Niccolò Niccoli and Filippo Brunelleschi – The Use of Art for the Study of Symbols – Aims and Limits of Iconology – Raphael’s Stanza della Segnatura and the Nature of its Symbolism – The Subject of Poussin’s Orion – Dutch Genre Painting – Imagery and Art in the Romantic Period – The Wit of Saul Steinberg – Franz Schubert and the Vienna of his Time – Nature and Art as Needs of the Mind: the Philanthropic Ideals of Lord Leverhulme – Goethe: the Mediator of Classical Values.

AN AUTOBIOGRAPHICAL SKETCH (1987) // TOPICS OF OUR TIME… WENN’S EUCH ERNST IST, WAS ZU SAGEN… // Kunsthistoriker in eigener Sache / M. Sitt (Hrsg.). Berlin, 1990. S. 63–102.

GOMBRICH AND DIDIER ERIBON CE QUE L’IMAGE NOUS DIT, Entretiens sur l’art et la science (Adam Biro). Paris, 1991. 187 p.

AN AUTOBIOGRAPHICAL SKETCH (1996) // AN AUTOBIOGRAPHICAL SKETCH AND DISCUSSION… DAL MIO TEMPO: CITTÀ, MAESTRI, INCONTRI. Woodfield R. (ed.). Turin: Einaudi, 1999. Vol. xxxiv, 154 p.

Vienna 1900: le arti figurative e il problema della cultura ebraica (1997); Riflessioni sulla catastrofe ebraica (1997); Ricordo di Ernst Schaumann (1992); Ricordo di Julius von Schlosser come maestro (1988); Il mio maestro Emanuel Loewy (1998); Storia dell’arte e psicologia a Vienna cinquant’anni fa (1984); Il Warburg Institute: Un ricordo personale (1990); lcona (1996); Lezione urbinate (1993); Discorso di ringraziamento (Vienna, 16 giugno 1993); Un ritratto (1989); Quando avete qualcosa di serio da dire … (1990).

Goodman N. Art and Illusion; a Study in the Psychology of Pictorial Representation by E.H. Gombrich [book review] // The Journal of Philosophy. 1960. Vol. 57. P. 595–599.

Ginzburg C. Da A. Warburg a E.H. Gombrich. Note sul un problema del metodo // Studii medievali. Ser. 3, VII. 1966. P. 1015–1065.

Berliner R. Die Rechtfertigung des Menschen // Münster. 1967. Bd. 20. S. 227–238.

Previtali G. E.H. Gombrich, conservatore viennese // Para gone. 1968. Vol. 19. P. 22–40.

Carrier D. Perspective as a Convention: On the Views of Nelson Goodman and Ernst Gombrich // Leonardo. 1980. Vol. 13. P. 283–287; Leonardo. 1981. Vol. 14. P. 86–87.

Carrier D. Gombrich on Art Historical Explanation // Leonardo. 1983. Vol. 16. H. 2. P. 91–96.

Blinder D. The Controversy over Conventionalism // The Journal of Aesthetics and Art Criticism. 1983. Vol. 41.

Kemp M. Seeing and Signs. E.H. Gombrich in Retrospect. Review of: E.H. Gombrich, The Image and the Eye. Further Studies in the Psychology of Pictorial Representation // Art History. 1984. Vol. 7. P. 228–243.

Onians J. (ed.). Sight and Insight. Essays on Art and Culture in Honor of E.H. Gombrich at 85. London, 1984.

Bryson N. Vision and Painting. The Logic of the Gaze. London, 1985.

Lepsky K. Ernst H. Gombrich: Theorie und Methode. Wien; Köln: Böhlau, 1991.

Masheck J. Alberti’s Window: Art-Historiographic Notes on an Antimodernist Misprision // Art Journal. 1991. Vol. 50. P. 34–41.

Woodfield R. (ed.). Gombrich on Art and Psychology. Manchester, 1996.

Wendland U. Biographisches Handbuch deutschsprachiger Kunsthistoriker im Exil: Leben und Werk der unter dem Nationalsozialismus verfolgten und vertriebenen Wissenschaftler. München: Saur, 1999. Vol. 1. P. 221–233.

Trapp J.B. E.H. Gombrich: A Bibliography. London, 2000.

Feister P.H. Gombrich Sir Ernst Hans Joseph // Metzler Kunsthistoriker Lexikon. 2. Aufl. Stuttgart-Weimar, 2007. S. 132–135.

Snyder S. Language in Art: Gombrich’s History of Representation and the Breakdown of Visual Communication // Paper presented at XXVII International Congress for Aesthetics. Ankara, 2007. July 2.

Gombrich E.H.: A Centenary Colloquium. Warburg Institute. London, 2009. 19–20 June.

1. Peter Burke (Cambridge University). Ernst Gombrich’s search for cultural history; 2. Harry Mount (Oxford Brookes University). Gombrich and the fathers (and mothers) of art history; 3. Patrick Cavanagh (Université Paris Descartes & Harvard University). The heritage of Apelles: Gombrich’s contribution to the visual neurosciences; 4. Jeroen Stumpel (Utrecht University). Gombrich’s schema: power and poverty of a concept; 5. Paul Crossley (Courtauld Institute). Gombrich and the Middle Ages; 6. Paul Taylor (Warburg Institute) Gombrich and the idea of primitive art; 7. Robert Bagley (Princeton University). Gombrich among the Egyptians; 8. Elizabeth McGrath (Warburg Institute). Gombrich as iconographer; 9. Veronika Kopecky (Warburg Institute). Gombrich’s working method; 10. Roberto Casati (Centre National de la Recherche Scientifique). The shadow toolbox; 11. Jan Koenderink (Utrecht University). Gombrich’s “beholder’s share” and the geometry of pictorial space; 12. John Kulvicki (Dartmouth College). ‘Varieties of beholders’ shares; 13. Christopher Tyler (Smith Kettlewell Eye Institute). Gombrich’s “Vault of Perception”: do we “really” see straight lines as curved? 14. Martin Kemp (Oxford University). Gombrich and Leonardo: a natural affinity.