This collection of hard-hitting and highly readable essays reflects Gombrich's preoccupation with the central questions of value and tradition in our culture. He confronts - with characteristic incision and erudition - some of the most urgent issues that challenge today's students of art and civilization. His topics include a series of radical proposals for the reform of higher education, an assault on the notion of relativism and a heartfelt plea for the conservation of our cities, alongside thought-provoking and engaging studies of the works of Oskar Kokoschka, Abram Games, Saul Steinberg and Henri Cartier-Bresson.

"Art and Illusion" is a classic study of image-making. It seeks to answer a simple question: why is there such a thing as style? The question may be simple but there is no easy answer, and Professor Gombrich's wide-ranging exploration of the history and psychology of pictorial representation leads him into many important areas. He examines, questions and re-evaluates old and new ideas on the imitation of nature, the function of tradition, the problem of abstraction, the validity of perspective and the interpretation of expression, all of which reveal that pictorial representation is far from being a straightforward matter. First published in the 1960s, the text applies the findings of experimental science to the understanding of art and in tackling complex ideas and theoretical issues, Gombrich is rigorous; yet he always retains a sense of wonder at the inexhaustible capacity of the human brain, and at the subtlety of the relationships involved in seeing the world and in making and seeing art. With deep knowledge and his exceptional gift for clear exposition, he advances arguments as hypotheses to be tested. The problems of representation are fundamental to the history of art and t

These classic studies on the interpretation of images are essential reading for all students of Renaissance art; they also take their rightful place as seminal texts that have themselves helped to shape the evolving discipline of art history. Many of the essays focus on the greatest artists of the Renaissance -- notably Botticelli, Leonardo, Raphael and Michelangelo -- and all reflect the author's deep and abiding concern with standards, values and problems of method. Yet Gombrich never loses sight of the works of art he is investigating, and he brings to all his analyses and interpretations an original and powerful intelligence, unfailing clarity of expression and immense learning.

These four volumes have a permanent value and represent a vitally important humanistic tradition in scholarship and criticism.

In this seventh volume of his collected essays, Professor Gombrich pays tribute to a variety of illustrious figures, to whom we owe the ideas and values that are woven into the fabric of our intellectual life. His bicentennial address on the humanities delivered at the American Academy of Arts and Science is followed by in-depth studies of such momentous figures as G E Lessing, G F Hegel, Lord Leverhulme, Sigmund Freud, Aby Warburg and Otto Kurz. The established author explains that he wanted to introduce such a varied selection of scholars and critics to the non-specialist reader, so as to bring to life the nature and value of branches of learning that are in danger of being squeezed out of higher education. His argument is dynamic and sincere, his writing dextrous and subtle. An essential volume for the scholar and amateur alike, Tributes is a book to which the reader will return, time and time again.

The Sense of Order provides a comprehensive survey of the rich history and theory of decorative art. The universal human impulse to seek order and rhythm in space and time can be seen in an astonishing range of human activities: children's play, poetry, dance, music and architecture, as well as art. Its persistent prevalence in our every activity calls for a rigorous explanation of this fascinating phenomenon in terms of our biological heritage. Professor Gombrich in this tome, which he himself regarded as his most original work, offers precisely this. His characteristic erudition and expertise signify his writings here as no less than revolutionary in our perception of art and, in turn, of our very selves. A pleasure to read, this pivotal book is as accessible as it is sophisticated, and as engaging as it is idiosyncratic.

- Professor Gombrich's last book and first narrative book in over 20 years
- Studies the idea that older and less sophisticated (i.e. 'primitive') artworks are somehow morally and aesthetically superior to later works that have become soft and decadent
- Takes a long view of the subject, finding the theme expressed in key documents in Classical Antiquity, resuming the debate in the 18th century, and culminating in an examination of the radical expressions of primitivism in modern times
- Summing up more than 40 years of study and reflection on this theme, the book presents a closely argued narrative supported by extensive quotations that document with precision the role of authors, critics and artists in shaping and changing opinion
- Important both as a personal testament and as a documentary anthology, this long-awaited book fittingly provides a deep and revealing insight into the history and psychology of taste

In this volume, the tenth in the series of his collected essays, Professor Gombrich returned to themes that long preoccupied him in his study of visual imagery of all kinds. Central to these pivotal essays is a consuming interest in the functions of images, and how these functions, in addition to the images themselves, evolve over time. In wide-ranging studies of both so-called 'high' and 'low' art - from fresco painting, altar painting, the International Gothic Style and outdoor sculpture to doodles, pictorial instructions, caricature and political propaganda - Gombrich examines a broad spectrum of key questions. These include the role of supply and demand, competition and display, the 'ecology' of images, the idea of 'feedback' in the interplay of means and ends, and the ways in which developing skills in turn stimulate new demands. Gombrich explores in depth such specific aspects of the uses of images as the hanging of pictures and the use (or misuse) of images as historical evidence. Extensive in its scope and surgically precise in its focus, The Uses of Images signifies yet another landmark corpus of work by the prolific Professor Gombrich, in a subtle but striking tour de force.

A companion volume to Art and Illusion, The Image & the Eye provides a comprehensive and intriguing overview of art and our perception of its different dimensions. In a series of landmark papers and lectures, Professor Gombrich presents his thoughts and arguments on subjects as diverse as the tricks of photography with perspective, the problems of expressing emotion through art and how pictorial representation can alter the way in which we see the world. Like any work from Gombrich's vast oeuvre, these masterly pieces display a lively curiosity and an infectious enthusiasm for understanding the challenges presented by art.

This volume of key essays explores, with intellectual and emotional rigour, the nature of values and their place in the humanities. As Ernst Gombrich writes in the preface, 'There are moments in the life of an academic when he feels prompted to get up from his university chair and mount the pulpit ... ' Ranging in subject matter from the philosophy of Hegel to wartime propaganda broadcasts, to the future of museums and the role of reason and feeling in the study of art, Professor Gombrich dynamically argues for the ideals of tolerance and pluralism and against the idols of determinism and relativism that would threaten all forms of the very culture that defines us as human beings.

The third volume of E H Gombrich's seminal essays on the Renaissance has the classical tradition as its central theme. Apelles, the most famous painter of ancient Greece, was said to have combined perfect beauty with supreme skill in imitating the appearances of nature. These twin ideals of perfect beauty and perfect imitation of nature, which were inherited from classical antiquity and remained unchallenged as the cornerstone of art until the twentieth century, form the starting-point for these learned and always stimulating essays. Whether discussing the rendering of light and lustre, the working methods of Leonardo da Vinci or the principles of criticism, the author's analyses and interpretations are underpinned by a deep conviction that, despite the apparent abandonment of the Renaissance ideals in the twentieth century, questions about traditions, values and standards are still of fundamental importance. This wider concern gives these essays a continuing vitality, not only for students but also for anyone interested in art and culture.

In this second volume of his classic essays on the Renaissance, E H Gombrich focuses on a theme of central importance: visual symbolism. He opens with a searching introduction ('The Aims and Limits of Iconology'), and follows with detailed studies of Botticelli, Mantegna, Raphael, Poussin and others. The volume concludes with an extended study of the philosophies of symbolism, demonstrating that the ideas which preoccupied the philosophers of the Renaissance are still very much alive today. Like its predecessor, Norm and Form, this volume is indispensable for all students of Renaissance art and thought as a work that has itself helped to shape the evolving discipline of art history. Reflecting the author's abiding concern with standards, values and problems of method, it also has a wider interest as an introduction to the fundamental questions involved in the interpretation of images.

This volume presents an accessible selection of Professor Gombrich's best and most characteristic writing, and introduces the general reader to his ideas and arguments on many fundamental questions. In these meticulously assimilated writings he discusses the nature of representation, the psychology of perception, the interpretation of images, the problems of theory and method, the idea of progress, and symbolism and meaning in art. Professor Gombrich's writings include three major narrative works - The Story of Art, Art and Illusion and The Sense of Order - plus 11 volumes of collected essays and reviews. This anthology brings together a selection from all these books and in addition six pieces not previously published by Phaidon. It thus introduces the reader to the entire range of Gombrich's thought. Richard Woodfield writes a general introduction, and provides extensive notes and guides to further reading.