02998cam a2200421 a 45000010008000000030008000080050017000160080041000330200032000740200026001060200031001320350023001630350017001860350012002030400041002150820016002560900020002721000047002922450096003392500054004352600052004893000047005414900073005885040066006615050587007275200419013145200355017336500021020886500022021098300028021318300048021599000014022079420012022219480028022339990019022619520148022809520148024283427438BD-DhUL20161226195242.0010102s2000    njua     b    001 0 eng d  a0691070008 (millennium ed.)  a0691017506 (pbk. ed.)  a0691097852 (hardcover ed.)  a(OCoLC)ocm45645369  a(NNC)3427438  a3427438  aMBEcMBEdOCLdLVBdOrLoB-BdBD-DhUL  a701.15bGOA  aN70b.G615 20001 aGombrich, E. H.q(Ernst Hans),d1909-2001.10aArt and illusion :ba study in the psychology of pictorial representation /cE.H. Gombrich.  aMillennium ed., with a new preface by the author.  aPrinceton :bPrinceton University Press,c2000.  axliv, 466 p. :bill. (some col.) ;c26 cm.1 aBollingen series, 35. The A. W. Mellon lectures in the fine arts,v5  aIncludes bibliographical references (p. [399]-441) and index.00tIntroduction: Psychology and the Riddle of Style --gPt. 1.tThe Limits of Likeness --gI.tFrom Light into Paint --gII.tTruth and the Stereotype --gPt. 2.tFunction and Form --gIII.tPygmalion's Power --gIV.tReflections of the Greek Revolution --gV.tFormula and Experience --gPt. 3.tThe Beholder's Share --gVI.tThe Image in the Clouds --gVII.tConditions of Illusion --gVIII.tAmbiguities of the Third Dimension --gPt. 4.tInvention and Discovery --gIX.tThe Analysis of Vision in Art --gX.tThe Experiment of Caricature --gXI.tFrom Representation to Expression.1 a"Considered a great classic by all who seek a meeting ground between science and the humanities. Art and Illusion examines the history and psychology of pictorial representation in light of present-day theories of visual perception information and learning. Searching for a rational explanation of the changing styles of art, Gombrich reexamines many ideas on the imitation of nature and the function of tradition.8 aIn testing his arguments he ranges over the history of art, noticing particularly the accomplishments of the ancient Greeks, and the visual discoveries of such masters as Leonardo da Vinci and Rembrandt, as well as the impressionists and the cubists. Gombrich's main concern is less with the artists than with ourselves, the beholders."--BOOK JACKET. 0aArtxPsychology. 6aArtxPsychologie. 0aBollingen series ;v35. 0aA.W. Mellon lectures in the fine arts ;v5.  aAUTHbTOC  2ddccBK2 a20140522bacjeb52dMPS  c142021d142021  00102ddc406701_150000000000000_GOA708NFIC9268013aDULbDULcGENd2016-12-26ePurchasedo701.15 GOAp479308r2016-12-26t1w2016-12-26yBK  00102ddc406701_150000000000000_GOA708NFIC9268014aDULbDULcGENd2016-12-26ePurchasedo701.15 GOAp479309r2016-12-26t2w2016-12-26yBK