E.H. Gombrich and the Psychology of Artistic Perception
When E.H. Gombrich arrived in England in 1936, the field of art history was dominated by connoisseurship—the expert attribution and authentication of artworks. However, Gombrich brought with him the Viennese tradition of Bildung (a holistic approach to cultural and personal education), shifting his focus toward the broader relationship between science, art, and cultural tradition.
His intellectual curiosity led him to collaborate with Ernst Kris, an Austrian psychoanalyst and art historian, specifically regarding the art of caricature. This interdisciplinary approach eventually culminated in his influential works, including The Sense of Order (1979), which examined information theory in relation to artistic patterns, and the seminal Art and Illusion (1960).
[ไม่มีภาพประกอบ]The Mechanics of Visual Perception
In Art and Illusion, Gombrich challenged the idea that artists simply record what they see. Instead, he proposed that artistic creation is a psychological process of making and matching. Drawing on Karl Popper's philosophy of science—specifically the concept of conjecture and refutation—Gombrich argued that artists operate through a system of trial and error.
Schemata and the Feedback Loop
Gombrich asserted that no artist starts from a blank slate. Instead, they inherit schemata, which are predefined mental frameworks or conventions used to designate reality. These schemata, combined with the techniques of previous masters, serve as the starting point for any work.
The creative process then functions as a feedback loop: the artist compares their current work with their intended goal and makes a correction. By repeatedly matching their output against a standard of comparison, the artist gradually refines the image until it aligns with their vision.
Art History as a Scientific Evolution
Gombrich's approach moved away from vague abstractions like zeitgeist (the spirit of the times). He preferred to ground artistic development in universal truths similar to those found in science. In his 1950 work, The Story of Art, he framed the progression of art as a narrative moving from what ancient artists "knew" (their inherited schemata) to what later artists "saw" (their empirical observations).
Central to his philosophy was the belief that "There really is no such thing as Art. There are only artists." By focusing on the individual rather than mass movements, Gombrich used psychological explanations to understand how individual creators built upon and criticized the traditions they inherited.
Contributions to Renaissance Studies
Gombrich applied his rigorous analytical methods to the Renaissance, beginning with his doctoral dissertation on Mannerism. He notably re-evaluated the work of Giulio Romano at the Palazzo del Tè, arguing that Romano was not a "decadent" artist, but rather a professional responding to a patron's desire for fashionable novelty.
His extensive research on this era is captured in the four-volume series Studies in the Art of the Renaissance (1966), which includes:
- Norm and Form
- Symbolic Images
- The Heritage of Apelles
- New Light on Old Masters
Throughout these volumes and other writings, Gombrich expressed a profound admiration for Leonardo da Vinci, analyzing his work through the lens of symbolism and technical mastery.
Key Facts
- Core Theory: Art is created through a process of "making and matching" rather than simple imitation.
- Schemata: Artists use inherited conventional frameworks as starting points for their work.
- Scientific Influence: Gombrich adapted Karl Popper's "conjecture and refutation" to explain visual discoveries in art.
- Major Works: Key publications include The Story of Art (1950), Art and Illusion (1960), and The Sense of Order (1979).
- Renaissance Focus: He challenged the view of Mannerism as decadent and contributed heavily to the study of Renaissance symbolism.
| Concept | Definition | Function in Art |
|---|---|---|
| Schemata | Conventional mental frameworks | Provides the initial starting point for representation |
| Making and Matching | A process of comparison and adjustment | Refines the image to match the artist's vision |
| Correction | The act of fixing errors based on feedback | Moves the work from "what is known" to "what is seen" |
| Trial and Error | Iterative experimentation | Allows artists to criticize and improve upon forerunners |
Frequently Asked Questions
What are "schemata" in Gombrich's theory?
Schemata are inherited conventions or mental templates that artists use to represent reality. They ensure that an artist does not have to start from scratch, providing a standard of comparison to begin the creative process.
How did Karl Popper influence Gombrich's view of art?
Gombrich applied Popper's scientific philosophy of "conjecture and refutation" to art. He viewed the artistic process as a series of hypotheses (conjectures) that are tested and corrected (refuted) through a feedback loop of making and matching.
What did Gombrich mean by "there is no such thing as Art"?
He meant that "Art" as a monolithic, abstract entity does not exist; instead, there are only individual artists. This perspective shifted the focus from broad historical movements to the psychological and technical processes of the individual creator.
How did Gombrich reinterpret Mannerism?
Using the example of Giulio Romano, Gombrich argued that Mannerist art was not a sign of Renaissance decadence, but rather a calculated response to the demands of patrons who wanted fashionable novelty.
What is the difference between what artists "knew" and what they "saw"?
What artists "knew" refers to the traditional schemata and conventions they inherited. What they "saw" refers to the empirical observation of the natural world, which later artists used to correct and evolve those inherited traditions.