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Calculated Shard: 71 (from laksa135)

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curl -X POST \
  'http://laksa071.int.ahrefs:8124/' \
  -H 'Content-Type: text/plain' \
  -H 'X-ClickHouse-Database: crawler3' \
  -H 'Authorization: Basic YXBpOg==' \
  -d 'SELECT getAhrefsURLFromUnparsed(src_unparsed) AS found_url, ifNull(toUnixTimestamp(download_stamp), 0) AS crawl_time, ifNull(toUnixTimestamp(props_url_first_seen), 0) AS first_indexed_time, download_http_code AS http_code, src_unparsed AS src_unparsed, src_root_hash AS src_root_hash, history_drop_reason AS history_drop_reason, meta_title AS meta_title, meta_descriptions AS meta_descriptions, attrs_boilerpipe_text AS attrs_boilerpipe_text, attrs_markdown AS attrs_markdown, attrs_readable_markdown AS attrs_readable_markdown, meta_canonical AS meta_canonical FROM crawler3.page_info_local FINAL PREWHERE (src_root_hash, src_unparsed) IN ((getAhrefsRootHashFromUnparsed(getAhrefsUnparsedNoserviceFromURL(\'https://www.librarything.com/work/12957\')), getAhrefsUnparsedNoserviceFromURL(\'https://www.librarything.com/work/12957\'))) FORMAT JSONEachRow'

Response:

{"found_url":"https:\/\/www.librarything.com\/work\/12957","crawl_time":1774006622,"first_indexed_time":1465758048,"http_code":200,"src_unparsed":"com,librarything!www,\/work\/12957 s443","src_root_hash":"9179651636503809871","history_drop_reason":null,"meta_title":"The Story of Art by Ernst Gombrich","meta_descriptions":["The Story of Art by Ernst Gombrich"],"attrs_boilerpipe_text":"\"The Story of Art is one of the most famous and popular books on art ever published. For 45 years it has remained unrivalled as an introduction to the whole subject, from the earliest cave paintings to the experimental art of today. Readers of all ages and backgrounds throughout the world have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating directly his own deep love of the works of art he describes.\" \"The Story of Art owes\nshow more\nits lasting popularity to the directness and simplicity of the writing, and also the author's skill in presenting a clear narrative. He describes his aim as 'to bring some intelligible order into the wealth of names, periods and styles which crowd the pages of more ambitious works', and using his insight into the psychology of the visual arts, he makes us see the history of art as 'a continuous weaving and changing of traditions in which each work refers to the past and points to the future', 'a living chain that still links our own time with the Pyramid age'. In its new format, the 16th edition of this classic work is set to continue its triumphant progress for future generations and to remain the first choice for all newcomers to art.\"--Jacket.\nshow less\n52 reviews\n\"It is the job of the historian to make intelligible what actually happens, it is the job of the critic to criticise what happens.\"\nE H Gombrich (30-03-1909 to 03-11-2001) was both an art historian and an art critic. He was asked to write a text book on the history of art for young people, however his love of art and experience as an art critic resulted in this being much more than a mere text book. He said he wanted to \"open eyes and not set tounges wagging\" and so he kept technical details to a minimum. His modus operandi was to demonstrate, with reference to the many superb illustrations, what the artist was trying to achieve and what we the viewer should be looking for when we view a painting, sculpture or building.\nGombricht does not\nshow more\nstray far from the western canon and guides the reader through primitive art, Egyptian art, Classical art, Medieval art, the Renaissance (where he is particularly strong), Northern European art, Neo classicism, Pre-Raphaelites, the Impressionists, Expressionism, Modern Art and Experimental Art. He is keen to point out that art has not developed through all of these phases, but that they are links in a chain. He manages to pack into his story enough historical context so that he can demonstrate why artists painted as they did, why art has changed through the ages and what the viewer of art demanded from the artists. It is a full and well rounded history.\nHe tackles head on issues for the beginner in art appreciation, encouraging them to go and see as much art as possible. He explains that much great art is not so concerned with an accurate depiction of its subject; it does not aim to look \"like real\". The artist is more concerned with showing a thought, a feeling, or an idea and in addition will have issues in separating out what he sees from what he knows. The arrangement of form and the selection of colours are of prime concern to the painter.\nIt has been said that Gombrich was no lover of modern art, but you would never guess this from his book. His writing about the impressionists and those that followed is extremely interesting and his thoughts on the influence of the art critics gives much food for thought. Throughout the book the thoughts and ideas expressed will be of interest to the art lover as well as the beginner and his point about the crisis for the art critic in todays art world bears repetition. He says that the critics got it horribly wrong when they denigrated the impressionists at their first few exhibitions in Paris and ever since they have been afraid of missing the boat again. He laments that today (1960's when he was writing) critics are little more than chroniclers of art, more concerned with not making a false step than indulging in serious criticism. He says in his postscript to the 1966 edition:\n\"I took it for granted it was the duty of the critic and of the historian to explain and to justify all artistic experiments in the face of hostile criticism. Today the problem is rather that the shock has worn off and that almost anything experimental seems acceptable to the press and the public. If anybody needs a champion today it is the artist who shuns rebellious gestures\".\nHe goes on to say:\n\"We have no guarantee that our new responsiveness will not lead us to neglect a real genius among us who forges ahead regardless of fashion and publicity. Moreover the absorption in the present could easily cut us off from our heritage if we came to regard the art of the past as the mere foil against which the new conquests acquire meaning\".\nIn this postscript Gombrich the art critic takes the reins from Gombrich the historian, but it no less fascinating for that. This is a superb story of art, full of insight and an excellent introduction for the beginner and still thought provoking for the art lover.\nA final word from Gombrich\n\"There is really no such thing as Art. There are only artists - men and women, that is, who are favoured with the wonderful gift of balancing shapes and colours till they are \"right\"\nshow less\n2\nIncredibile come Gombrich riesca a far scorrere circa 25 secoli di arte con tanta semplicità e capacità narrativa. È una storia, del resto, e G. ne è grande narratore. Il testo - specialmente in questa edizione con illustrazioni grandi e a colori - è un'ottima introduzione che invoca approfondimenti di ogni genere. Gombrich procede con passi da gigante e quindi in mezzo ci si perde, come è ovvio per una disamina sintetica, molto. Ma l'essenziale c'è tutto e alcune osservazioni di G. sono a tutti gli effetti illuminanti. Solo un po' più debole la parte finale, ma come nota anche G. la storia ha bisogno di distanza per essere ben descritta.\nAn intelligent and jargon free tour through the history of Western art. Reading this book for the first time I am reminded of how important it is to know our common Western culture, which is in part a history of paintings, buildings and sculptures which have meaning and beauty as they come to us across the centuries. I almost feel it is a duty to have some knowledge of Western civilisation in this sense if you want to call yourself an educated citizen and heir to the Western tradition. Most people seem content to take photos of their dinner and post them on Instagram, and for those people in this way remaining forever naive of our great artistic, architectural and literary traditions, our common culture of Western civilisation, I feel\nshow more\nsad. They don't know what they are missing out on. More than that with fewer people having an acquaintance with this common historical culture, society's points of reference are impoverished, our conversations are hollowed out, and civilisation in this country ebbs and gutters like a candle flickering low. You can read this book for nothing if you get it out from a public library, but it enriches you in ways different and perhaps deeper than owning a new BMW and the latest smartphone. Of course as well as reading books like this it is ideal to spend some time wandering around places like Florence, Rome, Athens and Amsterdam and their galleries and museums (and yes, that requires more money, but it still doesn't require you to be rich if you do it in the right way).\nAnd after you have read this, watch the full series made for BBC, Civilisation, with Kenneth Clarke talking to camera like an adult and you will further flesh out the story this book narrates so limpidly.\nshow less\nJust a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world.\nThe inclusions and exclusions of certain artists are, of course, always arbitrary. However,\nshow more\nGombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.)\nWhat makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else.\nshow less\nThis has sat around for over a year looking daunting on the shelf. It's size implying weeks of effort. I needn't have worried. This is Gombrich: erudite, approachable and informative and oh so readable. He's the stereotype of the kindly and informed grandpa.\nI was sad that he didn't mirror the visual arts with snippets of the aural, but that's being sad about something that the book isn't. Instead, I got a whistlestop tour of a few thousand years of architecture that I've already mostly forgot. It does feel though that, like [Little History of the World] that the chapters are short and contained enough, that I'll read a snippet for a refresher for the rest of my life.\nÉ de índole conservadora, publicado pela primeira vez em 1950 e basicamente destinado a quem tenha pouco contato formal anterior com a história da arte. O gosto de Gombrich não se desvia do padrão, com um enfoque maior em arte medieval e especialmente Renascença.\nO que o torna especial, pois? O autor prova que levar a arte a sério significa pensar noutras perspectivas - reais e virtuais, noutros estilos, noutras preocupações e noutro eventual modus operandi estético. Eis uma mensagem a ter-se em conta.\n&frac12;\nSir Ernst Gombrich's classic narrative study of art history, first published in 1950. Among the many competing introductory texts the central monuments of which are H.W. Janson's History of Art and Helen Gardner's Art Through the Ages, Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible\nshow more\nenthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. This book belongs on every art-lover's bedside table.\nGombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. This is a comprehensive look at Western art from prehistoric times on up to the present. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art \"as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future.\" Gombrich's invaluable history is a veritable celebration of this \"living chain.\"\nshow less\n3\nRecently Added By\n107+ Works\n12,887 Members\nErnst Hans Josef Gombrich, born March 30, 1909, in Vienna, Austria, was educated at Vienna University where he earned a Ph.D. His career includes terms as Slade Professor of Fine Arts at Oxford and Cambridge universities and as Andrew D. White Professor-at-large at Cornell University. Gombrich's books on art and art history have sold as well as\nshow more\nsome works of fiction. One of his most popular titles is The Story of Art, which has been translated into 18 languages and sold more than two million copies. Other titles are; Looking for Answers: Conversations on Art and Science (with Didier Eribon), Shadows: The Depiction of Cast Shadows in Western Art, and Gombrich on Art and Psychology. His numerous awards include the Erasmus Prize in 1975, the Hegel Prize in 1976, and the International Balzan Prize in 1985. He holds honorary degrees from various universities, among them Oxford, Cambridge, and Harvard, and from the Royal College of Art (London), 1981. (Bowker Author Biography)\nshow less\nBelongs to Publisher Series\nCanonical title\nThe Story of Art\nOriginal title\nThe Story of Art\nOriginal publication date\n1950\nEpigraph\n[None]\nDedication\n[None]\nFirst words\nThis book is intended for all who feel in need of some first orientation in a strange and fascinating field.\nPreface [first ed., 1950]\n.\nThis book was planned from the outset to tell the story of art in both words and pictures by enabling readers as far as possible to have the illustration discussed in the text in front of them, without having to turn the page\n... (\nshow all\n)\n.\nPreface to the twelfth edition, November 1971\n.\nThere are many more illustrations in colour in this than in the twelfth edition, but the text (except for the bibliography) remains unchanged.\nPreface to the thirteenth edition, July 1977\n.\n'Books have a life of their own.' The Roman poet who made this remark could not have imagined that his lines would be copied out of hand for many centuries and would be available on the shelves of our libraries some two thous\n... (\nshow all\n)\nand years later.\nPreface to the fourteenth edition, March 1984\n.\nPessimists sometimes tell us that in this age of television and videos people have lost the habit of reading and that students, in particular, tend to lack the patience to derive pleasure from reading any book from cover to c\n... (\nshow all\n)\nover.\nPreface to the fifteenth edition, March 1989\n.\nAs I sit down to add the preface to this latest edition I am filled with amazement and gratitude.\nPreface to the sixteenth edition, December 1994\n.\nThere really is no such thing as Art. There are only artists.\nIntroduction : On art and artists\n.\nWe do not know how art began any more than we know how language started.\n1. Strange beginnings : Prehistoric and primitive peoples ; Ancient America\n.\nQuotations*\nNo existe, realmente, el Arte. Tan sólo hay artistas.\nLast words\n(\nClick to show. Warning: May contain spoilers.\n)\nIt is we who must see to it that the thread of tradition does not break and that there remain opportunities for the artist to add to the precious string of pearls that is our heirloom from the past.\n(\nClick to show. Warning: May contain spoilers.\n)\nBut is not this constant need for revision one of the thrills of the study of the past?\n(Sixteenth ed., 1995)\n.\nOriginal language\nEnglish\n*Some information comes from Common Knowledge in other languages. Click \"Edit\" for more information.\nGenres\nArt & Design\n,\nHistory\n,\nNonfiction\n,\nGeneral Nonfiction\nDDC\/MDS\n709\n—\nArts & recreation\n \nArts\n \nHistory, geographic treatment, biography\nLCC\nN5300 .G643\n—\nFine Arts\n \nVisual arts\n \nHistory\nBISAC\nMembers\n5,392\nPopularity\n2,427\nReviews\n46\nRating\n&frac12;\n(4.31)\nLanguages\n23 —\nBulgarian,\nCatalan,\nChinese,\nCzech,\nDanish,\nDutch,\nEnglish,\nEstonian,\nFinnish,\nFrench,\nGerman,\nHebrew,\nHungarian,\nItalian,\nLatvian\n,\nLithuanian,\nNorwegian (Bokmål),\nPolish,\nPortuguese,\nRussian,\nSpanish,\nSwedish,\nTurkish\nMedia\nPaper, Ebook\nISBNs\n129\nUPCs\n1\nASINs\n62","attrs_markdown":"[Skip to main content](https:\/\/www.librarything.com\/work\/12957#lt2_content)\n\n[![20 Years of LibraryThing](https:\/\/image.librarything.com\/pics\/20years\/20year_ribbon_masthead4_60h.png)![LibraryThing Home](https:\/\/image.librarything.com\/pics\/20years\/lt_wordmark_white_100h.png) ![LibraryThing Home](https:\/\/image.librarything.com\/pics\/20years\/lt2_logo_Lonly_50h.png)](https:\/\/www.librarything.com\/ \"Home\")\n\n[Home](https:\/\/www.librarything.com\/)[Groups](https:\/\/www.librarything.com\/ngroups)[Talk](https:\/\/www.librarything.com\/talk)[More](https:\/\/www.librarything.com\/more)[Zeitgeist](https:\/\/www.librarything.com\/zeitgeist)\n\n[Home](https:\/\/www.librarything.com\/) [Groups](https:\/\/www.librarything.com\/ngroups) [Talk](https:\/\/www.librarything.com\/talk) [More](https:\/\/www.librarything.com\/more) [Zeitgeist](https:\/\/www.librarything.com\/zeitgeist)\n\n[Sign in \/ Join](https:\/\/www.librarything.com\/) [English](https:\/\/www.librarything.com\/work\/12957)[Help](https:\/\/www.librarything.com\/work\/12957)\n\n- [Sign in \/ Join](https:\/\/www.librarything.com\/)\n- [English](https:\/\/www.librarything.com\/work\/12957)\n- [Help](https:\/\/www.librarything.com\/work\/12957)\n\nOverview\n\n[Overview](https:\/\/www.librarything.com\/work\/12957\/t\/The-Story-of-Art)\n\n## Work\n[Reviews](https:\/\/www.librarything.com\/work\/12957\/reviews)[Recommendations](https:\/\/www.librarything.com\/work\/12957\/recommendations)[Covers](https:\/\/www.librarything.com\/work\/12957\/covers)[Community](https:\/\/www.librarything.com\/work\/12957\/social)[Classification](https:\/\/www.librarything.com\/work\/12957\/classification)[Descriptions](https:\/\/www.librarything.com\/work\/12957\/descriptions)[Editions](https:\/\/www.librarything.com\/work\/12957\/editions)[Helper Hub](https:\/\/www.librarything.com\/work\/12957\/helperhub)\n\n![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714832472.01._SX200_SY400_SCLZZZZZZZ_.jpg)\n\n# The Story of Art\n### by [Ernst Gombrich](https:\/\/www.librarything.com\/author\/gombricheh)\n\n[5,392 Members](https:\/\/www.librarything.com\/work\/12957\/social) [46 Reviews]()\n\n*\\&frac12;*\n\n(4.31)\n\n[7 Awards]()\n\n## On This Page\n[Description]()\n\n[Tags]()\n\n[Recommendations]()\n\n[Member Reviews]()\n\n[Members]()\n\n[Lists]()\n\n[Author Information]()\n\n[Awards and Honors]()\n\n[Series]()\n\n[Work Relationships]()\n\n[Common Knowledge]()\n\n[Classifications]()\n\n[Statistics]()\n\n[Quick Facts](https:\/\/www.librarything.com\/work\/12957#section_quickfacts)\n\n## Description\n\"The Story of Art is one of the most famous and popular books on art ever published. For 45 years it has remained unrivalled as an introduction to the whole subject, from the earliest cave paintings to the experimental art of today. Readers of all ages and backgrounds throughout the world have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating directly his own deep love of the works of art he describes.\" \"The Story of Art owes [show more]() its lasting popularity to the directness and simplicity of the writing, and also the author's skill in presenting a clear narrative. He describes his aim as 'to bring some intelligible order into the wealth of names, periods and styles which crowd the pages of more ambitious works', and using his insight into the psychology of the visual arts, he makes us see the history of art as 'a continuous weaving and changing of traditions in which each work refers to the past and points to the future', 'a living chain that still links our own time with the Pyramid age'. In its new format, the 16th edition of this classic work is set to continue its triumphant progress for future generations and to remain the first choice for all newcomers to art.\"--Jacket. [show less]()\n\n## Tags\nNumbers\n\nAll\n\n[20th century](https:\/\/www.librarything.com\/tag\/20th%20century) (14)  [aesthetics](https:\/\/www.librarything.com\/tag\/aesthetics) (18)  [architecture](https:\/\/www.librarything.com\/tag\/architecture) (37)  **[art](https:\/\/www.librarything.com\/tag\/art)** (998)  **[art appreciation](https:\/\/www.librarything.com\/tag\/art%20appreciation)** (12)  **[art criticism](https:\/\/www.librarything.com\/tag\/art%20criticism)** (18)  **[art history](https:\/\/www.librarything.com\/tag\/art%20history)** (614)  [art history survey](https:\/\/www.librarything.com\/tag\/art%20history%20survey) (11)  **[art theory](https:\/\/www.librarything.com\/tag\/art%20theory)** (21)  [artists](https:\/\/www.librarything.com\/tag\/artists) (15)  [arts](https:\/\/www.librarything.com\/tag\/arts) (26)  [criticism](https:\/\/www.librarything.com\/tag\/criticism) (10)  [culture](https:\/\/www.librarything.com\/tag\/culture) (16)  [drawing](https:\/\/www.librarything.com\/tag\/drawing) (6)  [Fine Arts](https:\/\/www.librarything.com\/tag\/Fine%20Arts) (11)  **[general art history](https:\/\/www.librarything.com\/tag\/general%20art%20history)** (6)  **[Gombrich](https:\/\/www.librarything.com\/tag\/Gombrich)** (19)  **[history](https:\/\/www.librarything.com\/tag\/history)** (380)  [Història de l'Art](https:\/\/www.librarything.com\/tag\/Hist%C3%B2ria%20de%20l%27Art) (11)  [non-fiction](https:\/\/www.librarything.com\/tag\/non-fiction) (208)  **[painting](https:\/\/www.librarything.com\/tag\/painting)** (50)  [Phaidon](https:\/\/www.librarything.com\/tag\/Phaidon) (7)  [reference](https:\/\/www.librarything.com\/tag\/reference) (57)  **[sculpture](https:\/\/www.librarything.com\/tag\/sculpture)** (41)  [technique](https:\/\/www.librarything.com\/tag\/technique) (5)  [theory](https:\/\/www.librarything.com\/tag\/theory) (13)  [to-read](https:\/\/www.librarything.com\/tag\/to-read) (197)  [visual arts](https:\/\/www.librarything.com\/tag\/visual%20arts) (14)  [western art](https:\/\/www.librarything.com\/tag\/western%20art) (4)  [world history](https:\/\/www.librarything.com\/tag\/world%20history) (11)\n\n[More Tags](https:\/\/www.librarything.com\/work\/12957\/classification)\n\n## Recommendations\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0691070008.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/25095\/t\/Art-and-Illusion-A-Study-in-the-Psychology-of-Pictorial-Representation)\n\n[Art and Illusion: A Study in the Psychology of Pictorial Representation](https:\/\/www.librarything.com\/work\/25095\/t\/Art-and-Illusion-A-Study-in-the-Psychology-of-Pictorial-Representation) by [Ernst Gombrich](https:\/\/www.librarything.com\/author\/gombricheh)\n\n[Art and Illusion: A Study in the Psychology of Pictorial Representation](https:\/\/www.librarything.com\/work\/25095\/t\/Art-and-Illusion-A-Study-in-the-Psychology-of-Pictorial-Representation)\n\n[Ernst Gombrich](https:\/\/www.librarything.com\/author\/gombricheh)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0486202763.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/221333\/t\/Principles-of-Art-History-The-Problem-of-the-Development-of-Style-in-Later-Art)\n\n[Principles of Art History: The Problem of the Development of Style in Later Art](https:\/\/www.librarything.com\/work\/221333\/t\/Principles-of-Art-History-The-Problem-of-the-Development-of-Style-in-Later-Art) by [Heinrich Wölfflin](https:\/\/www.librarything.com\/author\/wlfflinheinrich)\n\n[Principles of Art History: The Problem of the Development of Style in Later Art](https:\/\/www.librarything.com\/work\/221333\/t\/Principles-of-Art-History-The-Problem-of-the-Development-of-Style-in-Later-Art)\n\n[Heinrich Wölfflin](https:\/\/www.librarything.com\/author\/wlfflinheinrich)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0500275823.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/12955\/t\/The-Shock-of-the-New-Art-and-the-Century-of-Change)\n\n[The Shock of the New: Art and the Century of Change](https:\/\/www.librarything.com\/work\/12955\/t\/The-Shock-of-the-New-Art-and-the-Century-of-Change) by [Robert Hughes](https:\/\/www.librarything.com\/author\/hughesrobert-1)\n\n[The Shock of the New: Art and the Century of Change](https:\/\/www.librarything.com\/work\/12955\/t\/The-Shock-of-the-New-Art-and-the-Century-of-Change)\n\n[Robert Hughes](https:\/\/www.librarything.com\/author\/hughesrobert-1)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0520052560.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/15625\/t\/Theories-of-Modern-Art-A-Source-Book-by-Artists-and-Critics)\n\n[Theories of Modern Art: A Source Book by Artists and Critics](https:\/\/www.librarything.com\/work\/15625\/t\/Theories-of-Modern-Art-A-Source-Book-by-Artists-and-Critics) by [Herschel B. 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Berger](https:\/\/www.librarything.com\/author\/bergerjohn)\n\n[About Looking](https:\/\/www.librarything.com\/work\/335\/t\/About-Looking)\n\n[John Berger](https:\/\/www.librarything.com\/author\/bergerjohn)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0679735127.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/13510\/t\/Landscape-and-Memory)\n\n[Landscape and Memory](https:\/\/www.librarything.com\/work\/13510\/t\/Landscape-and-Memory) by [Simon Schama](https:\/\/www.librarything.com\/author\/schamasimon)\n\n[Landscape and Memory](https:\/\/www.librarything.com\/work\/13510\/t\/Landscape-and-Memory)\n\n[Simon Schama](https:\/\/www.librarything.com\/author\/schamasimon)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0142180297.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/11609502\/t\/What-Are-You-Looking-At-The-Surprising-Shocking-and-Sometimes-Strange-Story-of-150-Years-of-Modern-Art)\n\n[What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art](https:\/\/www.librarything.com\/work\/11609502\/t\/What-Are-You-Looking-At-The-Surprising-Shocking-and-Sometimes-Strange-Story-of-150-Years-of-Modern-Art) by [Will Gompertz](https:\/\/www.librarything.com\/author\/gompertzwill)\n\n[What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art](https:\/\/www.librarything.com\/work\/11609502\/t\/What-Are-You-Looking-At-The-Surprising-Shocking-and-Sometimes-Strange-Story-of-150-Years-of-Modern-Art)\n\n[Will Gompertz](https:\/\/www.librarything.com\/author\/gompertzwill)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714824224.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/12958\/t\/The-Story-of-Modern-Art)\n\n[The Story of Modern Art](https:\/\/www.librarything.com\/work\/12958\/t\/The-Story-of-Modern-Art) by [Norbert Lynton](https:\/\/www.librarything.com\/author\/lyntonnorbert)\n\n[The Story of Modern Art](https:\/\/www.librarything.com\/work\/12958\/t\/The-Story-of-Modern-Art)\n\n[Norbert Lynton](https:\/\/www.librarything.com\/author\/lyntonnorbert)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/3822850020.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/124029\/t\/Bauhaus-1919-1933)\n\n[Bauhaus : 1919-1933](https:\/\/www.librarything.com\/work\/124029\/t\/Bauhaus-1919-1933) by [Magdalena Droste](https:\/\/www.librarything.com\/author\/drostemagdalena)\n\n[Bauhaus : 1919-1933](https:\/\/www.librarything.com\/work\/124029\/t\/Bauhaus-1919-1933)\n\n[Magdalena Droste](https:\/\/www.librarything.com\/author\/drostemagdalena)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/3822870307.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/210179\/t\/Symbolism)\n\n[Symbolism](https:\/\/www.librarything.com\/work\/210179\/t\/Symbolism) by [Michael Gibson](https:\/\/www.librarything.com\/author\/gibsonmichael-2)\n\n[Symbolism](https:\/\/www.librarything.com\/work\/210179\/t\/Symbolism)\n\n[Michael Gibson](https:\/\/www.librarything.com\/author\/gibsonmichael-2)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0300093047.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/27607\/t\/Art-and-Beauty-in-the-Middle-Ages)\n\n[Art and Beauty in the Middle Ages](https:\/\/www.librarything.com\/work\/27607\/t\/Art-and-Beauty-in-the-Middle-Ages) by [Umberto Eco](https:\/\/www.librarything.com\/author\/ecoumberto)\n\n[Art and Beauty in the Middle Ages](https:\/\/www.librarything.com\/work\/27607\/t\/Art-and-Beauty-in-the-Middle-Ages)\n\n[Umberto Eco](https:\/\/www.librarything.com\/author\/ecoumberto)\n\n[Complete Recommendations](https:\/\/www.librarything.com\/work\/12957\/recommendations)\n\n## Member Reviews\n[Featured]()[Recent]()[Thumbs]()\n\nExpand All\n\nRating\n\n- All Ratings\n- 224\n- *\\&frac12;*\n  28\n- 152\n- *\\&frac12;*\n  12\n- 58\n- *\\&frac12;*\n  2\n- 5\n- *\\&frac12;*\n  1\n- 1\n- No Rating\n\nLanguage\n\n- All Languages\n- English39\n- Spanish7\n- French2\n- Catalan1\n- Dutch1\n- Italian1\n- Romanian1\n\n52 reviews\n\n[baswood](https:\/\/www.librarything.com\/profile\/baswood)[1,197 reviews](https:\/\/www.librarything.com\/reviews\/baswood)\n\n\"It is the job of the historian to make intelligible what actually happens, it is the job of the critic to criticise what happens.\"  \n  \nE H Gombrich (30-03-1909 to 03-11-2001) was both an art historian and an art critic. He was asked to write a text book on the history of art for young people, however his love of art and experience as an art critic resulted in this being much more than a mere text book. He said he wanted to \"open eyes and not set tounges wagging\" and so he kept technical details to a minimum. His modus operandi was to demonstrate, with reference to the many superb illustrations, what the artist was trying to achieve and what we the viewer should be looking for when we view a painting, sculpture or building.  \n  \nGombricht does not [show more]() stray far from the western canon and guides the reader through primitive art, Egyptian art, Classical art, Medieval art, the Renaissance (where he is particularly strong), Northern European art, Neo classicism, Pre-Raphaelites, the Impressionists, Expressionism, Modern Art and Experimental Art. He is keen to point out that art has not developed through all of these phases, but that they are links in a chain. He manages to pack into his story enough historical context so that he can demonstrate why artists painted as they did, why art has changed through the ages and what the viewer of art demanded from the artists. It is a full and well rounded history.  \n  \nHe tackles head on issues for the beginner in art appreciation, encouraging them to go and see as much art as possible. He explains that much great art is not so concerned with an accurate depiction of its subject; it does not aim to look \"like real\". The artist is more concerned with showing a thought, a feeling, or an idea and in addition will have issues in separating out what he sees from what he knows. The arrangement of form and the selection of colours are of prime concern to the painter.   \n  \nIt has been said that Gombrich was no lover of modern art, but you would never guess this from his book. His writing about the impressionists and those that followed is extremely interesting and his thoughts on the influence of the art critics gives much food for thought. Throughout the book the thoughts and ideas expressed will be of interest to the art lover as well as the beginner and his point about the crisis for the art critic in todays art world bears repetition. He says that the critics got it horribly wrong when they denigrated the impressionists at their first few exhibitions in Paris and ever since they have been afraid of missing the boat again. He laments that today (1960's when he was writing) critics are little more than chroniclers of art, more concerned with not making a false step than indulging in serious criticism. He says in his postscript to the 1966 edition:  \n  \n\"I took it for granted it was the duty of the critic and of the historian to explain and to justify all artistic experiments in the face of hostile criticism. Today the problem is rather that the shock has worn off and that almost anything experimental seems acceptable to the press and the public. If anybody needs a champion today it is the artist who shuns rebellious gestures\".   \n  \nHe goes on to say:  \n  \n\"We have no guarantee that our new responsiveness will not lead us to neglect a real genius among us who forges ahead regardless of fashion and publicity. Moreover the absorption in the present could easily cut us off from our heritage if we came to regard the art of the past as the mere foil against which the new conquests acquire meaning\".  \n  \nIn this postscript Gombrich the art critic takes the reins from Gombrich the historian, but it no less fascinating for that. This is a superb story of art, full of insight and an excellent introduction for the beginner and still thought provoking for the art lover.  \n  \nA final word from Gombrich  \n  \n\"There is really no such thing as Art. There are only artists - men and women, that is, who are favoured with the wonderful gift of balancing shapes and colours till they are \"right\" [show less]()\n\n[Apr 28, 2011](https:\/\/www.librarything.com\/work\/12957\/reviews\/72759972)\n\n2\n\n[d.v.](https:\/\/www.librarything.com\/profile\/d.v.)[999 reviews](https:\/\/www.librarything.com\/reviews\/d.v.)\n\nIncredibile come Gombrich riesca a far scorrere circa 25 secoli di arte con tanta semplicità e capacità narrativa. È una storia, del resto, e G. ne è grande narratore. Il testo - specialmente in questa edizione con illustrazioni grandi e a colori - è un'ottima introduzione che invoca approfondimenti di ogni genere. Gombrich procede con passi da gigante e quindi in mezzo ci si perde, come è ovvio per una disamina sintetica, molto. Ma l'essenziale c'è tutto e alcune osservazioni di G. sono a tutti gli effetti illuminanti. Solo un po' più debole la parte finale, ma come nota anche G. la storia ha bisogno di distanza per essere ben descritta.\n\n[May 16, 2023](https:\/\/www.librarything.com\/work\/12957\/reviews\/240533769)\n\n[Tom.Wilson](https:\/\/www.librarything.com\/profile\/Tom.Wilson)[114 reviews](https:\/\/www.librarything.com\/reviews\/Tom.Wilson)\n\nAn intelligent and jargon free tour through the history of Western art. Reading this book for the first time I am reminded of how important it is to know our common Western culture, which is in part a history of paintings, buildings and sculptures which have meaning and beauty as they come to us across the centuries. I almost feel it is a duty to have some knowledge of Western civilisation in this sense if you want to call yourself an educated citizen and heir to the Western tradition. Most people seem content to take photos of their dinner and post them on Instagram, and for those people in this way remaining forever naive of our great artistic, architectural and literary traditions, our common culture of Western civilisation, I feel [show more]() sad. They don't know what they are missing out on. More than that with fewer people having an acquaintance with this common historical culture, society's points of reference are impoverished, our conversations are hollowed out, and civilisation in this country ebbs and gutters like a candle flickering low. You can read this book for nothing if you get it out from a public library, but it enriches you in ways different and perhaps deeper than owning a new BMW and the latest smartphone. Of course as well as reading books like this it is ideal to spend some time wandering around places like Florence, Rome, Athens and Amsterdam and their galleries and museums (and yes, that requires more money, but it still doesn't require you to be rich if you do it in the right way).  \n  \nAnd after you have read this, watch the full series made for BBC, Civilisation, with Kenneth Clarke talking to camera like an adult and you will further flesh out the story this book narrates so limpidly. [show less]()\n\n[Jul 29, 2024 (Edited)](https:\/\/www.librarything.com\/work\/12957\/reviews\/268688006)\n\n[kant1066](https:\/\/www.librarything.com\/profile\/kant1066)[207 reviews](https:\/\/www.librarything.com\/reviews\/kant1066)\n\nJust a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world.   \n  \nThe inclusions and exclusions of certain artists are, of course, always arbitrary. However, [show more]() Gombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.)   \n  \nWhat makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else. [show less]()\n\n[Nov 28, 2011](https:\/\/www.librarything.com\/work\/12957\/reviews\/80397371)\n\n[thenumeraltwo](https:\/\/www.librarything.com\/profile\/thenumeraltwo)[124 reviews](https:\/\/www.librarything.com\/reviews\/thenumeraltwo)\n\nThis has sat around for over a year looking daunting on the shelf. It's size implying weeks of effort. I needn't have worried. This is Gombrich: erudite, approachable and informative and oh so readable. He's the stereotype of the kindly and informed grandpa.   \n  \nI was sad that he didn't mirror the visual arts with snippets of the aural, but that's being sad about something that the book isn't. Instead, I got a whistlestop tour of a few thousand years of architecture that I've already mostly forgot. It does feel though that, like \\[Little History of the World\\] that the chapters are short and contained enough, that I'll read a snippet for a refresher for the rest of my life.\n\n[Feb 11, 2020](https:\/\/www.librarything.com\/work\/12957\/reviews\/121071826)\n\n[jgcorrea](https:\/\/www.librarything.com\/profile\/jgcorrea)[2,631 reviews](https:\/\/www.librarything.com\/reviews\/jgcorrea)\n\nÉ de índole conservadora, publicado pela primeira vez em 1950 e basicamente destinado a quem tenha pouco contato formal anterior com a história da arte. O gosto de Gombrich não se desvia do padrão, com um enfoque maior em arte medieval e especialmente Renascença.  \nO que o torna especial, pois? O autor prova que levar a arte a sério significa pensar noutras perspectivas - reais e virtuais, noutros estilos, noutras preocupações e noutro eventual modus operandi estético. Eis uma mensagem a ter-se em conta.\n\n*\\&frac12;*\n\n[Dec 29, 2018 (Edited)](https:\/\/www.librarything.com\/work\/12957\/reviews\/76781002)\n\n[antimuzak](https:\/\/www.librarything.com\/profile\/antimuzak)[2,206 reviews](https:\/\/www.librarything.com\/reviews\/antimuzak)\n\nSir Ernst Gombrich's classic narrative study of art history, first published in 1950. Among the many competing introductory texts the central monuments of which are H.W. Janson's History of Art and Helen Gardner's Art Through the Ages, Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible [show more]() enthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. This book belongs on every art-lover's bedside table.  \n  \nGombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. This is a comprehensive look at Western art from prehistoric times on up to the present. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art \"as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future.\" Gombrich's invaluable history is a veritable celebration of this \"living chain.\" [show less]()\n\n[Jan 29, 2007](https:\/\/www.librarything.com\/work\/12957\/reviews\/11205861)\n\n3\n\nMore\n\n[All Reviews](https:\/\/www.librarything.com\/work\/12957\/reviews)\n\n## Members\nRecently Added By\n\n[gsolisv](https:\/\/www.librarything.com\/profile\/gsolisv), [Catmilkandhoney](https:\/\/www.librarything.com\/profile\/Catmilkandhoney), [CigdemAlican](https:\/\/www.librarything.com\/profile\/CigdemAlican), [Moppytopp](https:\/\/www.librarything.com\/profile\/Moppytopp), [Danothy](https:\/\/www.librarything.com\/profile\/Danothy), [HomeschoolWitch](https:\/\/www.librarything.com\/profile\/HomeschoolWitch), [yanjuniorlibrary](https:\/\/www.librarything.com\/profile\/yanjuniorlibrary)\n\n[All Members](https:\/\/www.librarything.com\/work\/12957\/social)\n\n## Lists\n[List]()[Stacks]()\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0140150080.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/43881\/)\n\n[Will Durant's 100 Books: An Update](https:\/\/www.librarything.com\/list\/43881\/all\/Will-Durants-100-Books-An-Update)\n\n46 works; 4 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0393317552.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/29\/)\n\n[Non-Fiction Worth Reading](https:\/\/www.librarything.com\/list\/29\/all\/Non-Fiction-Worth-Reading)\n\n1,010 works; 257 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0375842209.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/305\/)\n\n[Recommend the 20 best books you've read in the last five years](https:\/\/www.librarything.com\/list\/305\/all\/Recommend-the-20-best-books-youve-read-in-the-last-five-years)\n\n2,116 works; 594 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0142437204.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/907\/)\n\n[Philip Ward's Lifetime Reading Plan](https:\/\/www.librarything.com\/list\/907\/all\/Philip-Wards-Lifetime-Reading-Plan)\n\n593 works; 22 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714832472.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/11975\/)\n\n[Maestros](https:\/\/www.librarything.com\/list\/11975\/all\/Maestros)\n\n15 works; 1 member\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0393317552.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/6948\/)\n\n[Big tags](https:\/\/www.librarything.com\/list\/6948\/all\/Big-tags)\n\n15 works; 1 member\n\n[![](https:\/\/pics.cdn.librarything.com\/picsizes\/00\/01\/1-c-h100-w50-pv25_597745414141417941475141_v5.png)](https:\/\/www.librarything.com\/list\/43867\/)\n\n[Yet another list](https:\/\/www.librarything.com\/list\/43867\/all\/Yet-another-list)\n\n64 works; 1 member\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0307744434.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/11\/)\n\n[Best books read in 2011](https:\/\/www.librarything.com\/list\/11\/all\/Best-books-read-in-2011)\n\n200 works; 51 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0307700763.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/47347\/)\n\n[100](https:\/\/www.librarything.com\/list\/47347\/all\/100)\n\n15 works; 1 member\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0140135154.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/45533\/)\n\n[Art Books](https:\/\/www.librarything.com\/list\/45533\/all\/Art-Books)\n\n16 works; 1 member\n\n[![](https:\/\/pics.cdn.librarything.com\/picsizes\/00\/01\/1-c-h100-w50-pv25_597745414141417941475141_v5.png)](https:\/\/www.librarything.com\/list\/44485\/)\n\n[Art History and Appreciation](https:\/\/www.librarything.com\/list\/44485\/all\/Art-History-and-Appreciation)\n\n36 works; 1 member\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0812921178.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/44452\/)\n\n[Efemeridades e Possibilidades futuras (Personal wishlist)](https:\/\/www.librarything.com\/list\/44452\/all\/Efemeridades-e-Possibilidades-futuras-Personal-wishlist)\n\n24 works; 1 member\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0441478123.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/17355\/)\n\n[Books Read in 2018](https:\/\/www.librarything.com\/list\/17355\/all\/Books-Read-in-2018)\n\n4,360 works; 110 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0385474547.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/43519\/)\n\n[r\/AskHistorians' Recommended Books](https:\/\/www.librarything.com\/list\/43519\/all\/r%25252FAskHistorians-Recommended-Books)\n\n1,068 works; 17 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0679755330.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/42566\/)\n\n[1964 College Preparatory Reading List](https:\/\/www.librarything.com\/list\/42566\/all\/1964-College-Preparatory-Reading-List)\n\n202 works; 7 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0439023521.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/76\/)\n\n[Books Read in 2011](https:\/\/www.librarything.com\/list\/76\/all\/Books-Read-in-2011)\n\n679 works; 20 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/1400078776.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/10326\/)\n\n[Eton's list - the books every bright 16 year-old should read](https:\/\/www.librarything.com\/list\/10326\/all\/Etons-list-the-books-every-bright-16-year-old-should-read)\n\n40 works; 6 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0689707495.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/1079\/)\n\n[Sonlight Books](https:\/\/www.librarything.com\/list\/1079\/all\/Sonlight-Books)\n\n1,487 works; 25 members\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0500284652.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/47583\/)\n\n[Books in the Bibliography of The Mind in the Cave by David Lewis-Williams](https:\/\/www.librarything.com\/list\/47583\/all\/Books-in-the-Bibliography-of-The-Mind-in-the-Cave-by-David-Lewis-Williams)\n\n257 works; 1 member\n\n## Author Information\n[![Picture of author.](https:\/\/pics.cdn.librarything.com\/\/picsizes\/24\/39\/243957-x-h100-w100-pv25_655057344177426b41475141_v5.jpg)](https:\/\/www.librarything.com\/author\/gombricheh)\n\n[Ernst Gombrich](https:\/\/www.librarything.com\/author\/gombricheh)\n\n107+ Works 12,887 Members\n\nErnst Hans Josef Gombrich, born March 30, 1909, in Vienna, Austria, was educated at Vienna University where he earned a Ph.D. His career includes terms as Slade Professor of Fine Arts at Oxford and Cambridge universities and as Andrew D. White Professor-at-large at Cornell University. Gombrich's books on art and art history have sold as well as [show more]() some works of fiction. One of his most popular titles is The Story of Art, which has been translated into 18 languages and sold more than two million copies. Other titles are; Looking for Answers: Conversations on Art and Science (with Didier Eribon), Shadows: The Depiction of Cast Shadows in Western Art, and Gombrich on Art and Psychology. His numerous awards include the Erasmus Prize in 1975, the Hegel Prize in 1976, and the International Balzan Prize in 1985. He holds honorary degrees from various universities, among them Oxford, Cambridge, and Harvard, and from the Royal College of Art (London), 1981. (Bowker Author Biography) [show less]()\n\n### Some Editions\n[Houtzager, M. Elisabeth](https:\/\/www.librarything.com\/author\/houtzagermelisabeth) (Translator)\n\n[Георгиев, Никола](https:\/\/www.librarything.com\/author\/2530256506) (Translator)\n\n## Awards and Honors\n### Notable Lists\n[Outstanding Books for the College Bound and Lifelong Learners](https:\/\/www.librarything.com\/award\/42\/Outstanding-Books-for-the-College-Bound-and-Lifelong-Learners) ([Non-fiction](https:\/\/www.librarything.com\/award\/42.0.6\/Outstanding-Books-for-the-College-Bound-and-Lifelong-Learners-Non-fiction) – [1999](https:\/\/www.librarything.com\/award\/42.0.0.1999\/Outstanding-Books-for-the-College-Bound-and-Lifelong-Learners-1999))\n\n[Harenberg Buch der 1000 Bücher](https:\/\/www.librarything.com\/award\/4\/Harenberg-Buch-der-1000-B%C3%BCcher)\n\n[The Guardian Essential Library](https:\/\/www.librarything.com\/award\/156\/The-Guardian-Essential-Library) ([Art and music](https:\/\/www.librarything.com\/award\/156.0.24680\/The-Guardian-Essential-Library-Art-and-music))\n\n[The Guardian 100 Greatest Non-Fiction](https:\/\/www.librarything.com\/award\/275\/The-Guardian-100-Greatest-Non-Fiction) ([Art](https:\/\/www.librarything.com\/award\/275.0.2434\/The-Guardian-100-Greatest-Non-Fiction-Art))\n\n[200 best non-fiction books according to Afisha Magazine](https:\/\/www.librarything.com\/award\/629\/200-best-non-fiction-books-according-to-Afisha-Magazine)\n\n[Philip Ward's Lifetime Reading Plan](https:\/\/www.librarything.com\/award\/59\/Philip-Wards-Lifetime-Reading-Plan) ([Year 1](https:\/\/www.librarything.com\/award\/59.0.1847\/Philip-Wards-Lifetime-Reading-Plan-Year-1))\n\n[10 non-fiction книг, рекомендованных журналу Slon](https:\/\/www.librarything.com\/award\/977\/10-non-fiction-%D0%BA%D0%BD%D0%B8%D0%B3-%D1%80%D0%B5%D0%BA%D0%BE%D0%BC%D0%B5%D0%BD%D0%B4%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D1%8B%D1%85-%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB%D1%83-Slon)\n\n## Series\n### Belongs to Publisher Series\n[Companion Book Club](https:\/\/www.librarything.com\/nseries\/259420\/Companion-Book-Club)\n\n## Work Relationships\n### Contains\n[L'art et son histoire des origines à nos jours : Tome 1](https:\/\/www.librarything.com\/work\/14276280\/t\/Lart-et-son-histoire-des-origines-%C3%A0-nos-jours-Tome-1) by [Ernst Hans Gombrich](https:\/\/www.librarything.com\/author\/gombrichernsthans)\n\n[L'Art et son histoire, des origines à nos jours : tome 2](https:\/\/www.librarything.com\/work\/14276282\/t\/LArt-et-son-histoire-des-origines-%C3%A0-nos-jours-tome-2) by [Ernst Hans Gombrich](https:\/\/www.librarything.com\/author\/gombrichernsthans)\n\n## Common Knowledge\nCanonical title\n\nThe Story of Art\n\nOriginal title\n\nThe Story of Art\n\nOriginal publication date\n\n1950\n\nEpigraph\n\n\\[None\\]\n\nDedication\n\n\\[None\\]\n\nFirst words\n\nThis book is intended for all who feel in need of some first orientation in a strange and fascinating field.   \n  \n**Preface \\[first ed., 1950\\]**.\n***\nThis book was planned from the outset to tell the story of art in both words and pictures by enabling readers as far as possible to have the illustration discussed in the text in front of them, without having to turn the page... ([show all](https:\/\/www.librarything.com\/work\/12957))\n\n.   \n  \n**Preface to the twelfth edition, November 1971**.\n***\nThere are many more illustrations in colour in this than in the twelfth edition, but the text (except for the bibliography) remains unchanged.   \n  \n**Preface to the thirteenth edition, July 1977**.\n***\n'Books have a life of their own.' The Roman poet who made this remark could not have imagined that his lines would be copied out of hand for many centuries and would be available on the shelves of our libraries some two thous... ([show all](https:\/\/www.librarything.com\/work\/12957))\n\nand years later.   \n  \n**Preface to the fourteenth edition, March 1984**.\n***\nPessimists sometimes tell us that in this age of television and videos people have lost the habit of reading and that students, in particular, tend to lack the patience to derive pleasure from reading any book from cover to c... ([show all](https:\/\/www.librarything.com\/work\/12957))\n\nover.   \n  \n**Preface to the fifteenth edition, March 1989**.\n***\nAs I sit down to add the preface to this latest edition I am filled with amazement and gratitude.   \n  \n**Preface to the sixteenth edition, December 1994**.\n***\nThere really is no such thing as Art. There are only artists.   \n  \n**Introduction : On art and artists**.\n***\nWe do not know how art began any more than we know how language started.   \n  \n**1\\. Strange beginnings : Prehistoric and primitive peoples ; Ancient America**.\n\nQuotations\\*\n\nNo existe, realmente, el Arte. Tan sólo hay artistas.\n\nLast words\n\n([Click to show. Warning: May contain spoilers.](https:\/\/www.librarything.com\/work\/12957))\n\nIt is we who must see to it that the thread of tradition does not break and that there remain opportunities for the artist to add to the precious string of pearls that is our heirloom from the past.\n***\n([Click to show. Warning: May contain spoilers.](https:\/\/www.librarything.com\/work\/12957))But is not this constant need for revision one of the thrills of the study of the past?   \n  \n**(Sixteenth ed., 1995)**.\n\nOriginal language\n\nEnglish\n\n\\*Some information comes from Common Knowledge in other languages. Click \"Edit\" for more information.\n\n## Classifications\nGenres\n\n[Art & Design](https:\/\/www.librarything.com\/genre\/30\/Art-Design), [History](https:\/\/www.librarything.com\/genre\/9\/History), [Nonfiction](https:\/\/www.librarything.com\/genre\/62\/Nonfiction), [General Nonfiction](https:\/\/www.librarything.com\/genre\/20\/General-Nonfiction)\n\nDDC\/MDS\n\n[709](https:\/\/www.librarything.com\/mds\/709) — [Arts & recreation](https:\/\/www.librarything.com\/mds\/7XX) [Arts](https:\/\/www.librarything.com\/mds\/70X) [History, geographic treatment, biography](https:\/\/www.librarything.com\/mds\/709)\n\nLCC\n\n[N5300 .G643](https:\/\/www.librarything.com\/lcc\/N5300) — [Fine Arts](https:\/\/www.librarything.com\/lcc\/N) [Visual arts](https:\/\/www.librarything.com\/lcc\/N1-9211) [History](https:\/\/www.librarything.com\/lcc\/N5300-7418)\n\nBISAC\n\n[ART ART](https:\/\/www.librarything.com\/BISAC\/heading\/ART) [History](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/59) [General](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/59\/1)\n\n[ART ART](https:\/\/www.librarything.com\/BISAC\/heading\/ART) [Individual Artists](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/115) [General](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/115\/1)\n\n[ART ART](https:\/\/www.librarything.com\/BISAC\/heading\/ART) [General](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/1)\n\n[ART ART](https:\/\/www.librarything.com\/BISAC\/heading\/ART) [Subjects & Themes](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/126) [General](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/126\/1)\n\n[ART ART](https:\/\/www.librarything.com\/BISAC\/heading\/ART) [History](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/59) [Contemporary (1945-)](https:\/\/www.librarything.com\/BISAC\/heading\/ART\/facet\/59\/67)\n\n[More Classifications](https:\/\/www.librarything.com\/work\/12957\/classification)\n\n## Statistics\nMembers\n\n5,392\n\nPopularity\n\n2,427\n\nReviews\n\n46\n\nRating\n\n*\\&frac12;*\n\n(4.31)\n\nLanguages\n\n23 — Bulgarian, Catalan, Chinese, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hebrew, Hungarian, Italian, Latvian, Lithuanian, Norwegian (Bokmål), Polish, Portuguese, Russian, Spanish, Swedish, Turkish\n\nMedia\n\nPaper, Ebook\n\nISBNs\n\n129\n\nUPCs\n\n1\n\nASINs\n\n62\n\n## Quick Facts\nPublished\n\n1950\n\nGenres\n\n[Art & Design](https:\/\/www.librarything.com\/genre\/30\/Art-Design), [History](https:\/\/www.librarything.com\/genre\/9\/History), [Nonfiction](https:\/\/www.librarything.com\/genre\/62\/Nonfiction), [General Nonfiction](https:\/\/www.librarything.com\/genre\/20\/General-Nonfiction)\n\nDDC\/MDS\n\n[709](https:\/\/www.librarything.com\/mds\/709)\n\nLCC\n\n[N5300 .G643](https:\/\/www.librarything.com\/lcc\/N5300)\n\n## Author\n[![Picture of author.](https:\/\/pics.cdn.librarything.com\/\/picsizes\/24\/39\/243957-x-h100-w100-pv25_655057344177426b41475141_v5.jpg)](https:\/\/www.librarything.com\/author\/gombricheh)\n\n[Ernst Gombrich](https:\/\/www.librarything.com\/author\/gombricheh)\n\n107+ Works 12,887 Members\n## Popular Covers\n## Find It\n[More](https:\/\/www.librarything.com\/work\/12957\/quicklinks)\n\n## Links\nNo links\n\n## Popularity\n[93% 79% 75% 79% 85% 87% 76% 100% 93% 70% 70% 75% 75% 59% 2012 2026](https:\/\/www.librarything.com\/work\/12957\/social#section_popularity \"See more charts...\")\n\n## Ratings\nStars:\n\n*\\&frac12;*\n\n(4.31)\n\n[5 268 4 176 3 66 2 9 1 15.0 239 4.5 29 4.0 164 3.5 12 3.0 64 2.5 2 2.0 8 1.5 1 1.0 1 0.5 0Click to expandClick to reduce](\"Click to toggle half stars\")\n\n## Helpers\n[Helper Hub](https:\/\/www.librarything.com\/work\/12957\/helperhub)\n\nShare\n\n[Change Style](https:\/\/www.librarything.com\/work\/12957)[Desktop ViewMobile 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Lorax](https:\/\/www.librarything.com\/work\/12957 \"verdant_tight_12\")[System Standard](https:\/\/www.librarything.com\/work\/12957 \"system_14\")[System Large](https:\/\/www.librarything.com\/work\/12957 \"system_15\")[Georgia](https:\/\/www.librarything.com\/work\/12957 \"georgia_14\")[Large Text](https:\/\/www.librarything.com\/work\/12957 \"system_large\")[Atkinson](https:\/\/www.librarything.com\/work\/12957 \"atkinson_16\")","attrs_readable_markdown":"![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714832472.01._SX200_SY400_SCLZZZZZZZ_.jpg)\n\n\"The Story of Art is one of the most famous and popular books on art ever published. For 45 years it has remained unrivalled as an introduction to the whole subject, from the earliest cave paintings to the experimental art of today. Readers of all ages and backgrounds throughout the world have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating directly his own deep love of the works of art he describes.\" \"The Story of Art owes [show more]() its lasting popularity to the directness and simplicity of the writing, and also the author's skill in presenting a clear narrative. He describes his aim as 'to bring some intelligible order into the wealth of names, periods and styles which crowd the pages of more ambitious works', and using his insight into the psychology of the visual arts, he makes us see the history of art as 'a continuous weaving and changing of traditions in which each work refers to the past and points to the future', 'a living chain that still links our own time with the Pyramid age'. In its new format, the 16th edition of this classic work is set to continue its triumphant progress for future generations and to remain the first choice for all newcomers to art.\"--Jacket. [show less]()\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0691070008.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/25095\/t\/Art-and-Illusion-A-Study-in-the-Psychology-of-Pictorial-Representation)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0486202763.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/221333\/t\/Principles-of-Art-History-The-Problem-of-the-Development-of-Style-in-Later-Art)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0500275823.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/12955\/t\/The-Shock-of-the-New-Art-and-the-Century-of-Change)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0520052560.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/15625\/t\/Theories-of-Modern-Art-A-Source-Book-by-Artists-and-Critics)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0140135154.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/41311\/t\/Ways-of-Seeing)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0691017883.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/130698\/t\/The-Nude-A-Study-in-Ideal-Form)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/1856695840.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/86300\/t\/A-World-History-of-Art)\n\n[![](https:\/\/pics.cdn.librarything.com\/picsizes\/40\/07\/4007088-c-h400-w200-pv25_5937416b50514449414a4142_v5.jpg)](https:\/\/www.librarything.com\/work\/12544\/t\/A-History-of-Art-A-Survey-of-the-Visual-Arts-from-the-Dawn-of-History-to-the-Present-Day)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0226645517.01._SX200_SY400_SCMZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/235581\/t\/Meaning-in-the-Visual-Arts)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0847826465.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/8662337\/t\/History-of-Beauty)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0719522404.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/57343\/t\/Civilisation-A-Personal-View)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/030014332X.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/25504\/t\/A-Little-History-of-the-World)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0500201412.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/35382\/t\/A-Concise-History-of-Modern-Painting)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/013184069X.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/10004\/t\/History-of-Modern-Art)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0679451013.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/9620880\/t\/Lives-of-the-Painters-Sculptors-and-Architects-Complete)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0064300250.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/226915\/t\/Studies-in-Iconology-Humanistic-Themes-in-the-Art-of-the-Renaissance)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0061176109.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/5292265\/t\/The-Power-of-Art)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0140510141.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/362865\/t\/A-Dictionary-of-Art-and-Artists)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/019282144X.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/22890\/t\/Painting-and-Experience-in-Fifteenth-Century-Italy-A-Primer-in-the-Social-History-of-Pictorial-Style)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0064301001.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/109498\/t\/Dictionary-of-Subjects-Symbols-in-Art)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0500200084.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/97914\/t\/The-Art-of-the-Renaissance)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714823805.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/211381\/t\/Norm-and-Form)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714836257.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/8475\/t\/The-Art-Book)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0155050907.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/6087789\/t\/Gardners-Art-through-the-Ages)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0520026136.01._SX200_SY400_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/work\/176189\/t\/Art-and-Visual-Perception-A-Psychology-of-the-Creative-Eye)\n\n[![](https:\/\/images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reviews\n\n\"It is the job of the historian to make intelligible what actually happens, it is the job of the critic to criticise what happens.\"\n\nE H Gombrich (30-03-1909 to 03-11-2001) was both an art historian and an art critic. He was asked to write a text book on the history of art for young people, however his love of art and experience as an art critic resulted in this being much more than a mere text book. He said he wanted to \"open eyes and not set tounges wagging\" and so he kept technical details to a minimum. His modus operandi was to demonstrate, with reference to the many superb illustrations, what the artist was trying to achieve and what we the viewer should be looking for when we view a painting, sculpture or building.\n\nGombricht does not [show more]()stray far from the western canon and guides the reader through primitive art, Egyptian art, Classical art, Medieval art, the Renaissance (where he is particularly strong), Northern European art, Neo classicism, Pre-Raphaelites, the Impressionists, Expressionism, Modern Art and Experimental Art. He is keen to point out that art has not developed through all of these phases, but that they are links in a chain. He manages to pack into his story enough historical context so that he can demonstrate why artists painted as they did, why art has changed through the ages and what the viewer of art demanded from the artists. It is a full and well rounded history. He tackles head on issues for the beginner in art appreciation, encouraging them to go and see as much art as possible. He explains that much great art is not so concerned with an accurate depiction of its subject; it does not aim to look \"like real\". The artist is more concerned with showing a thought, a feeling, or an idea and in addition will have issues in separating out what he sees from what he knows. The arrangement of form and the selection of colours are of prime concern to the painter. It has been said that Gombrich was no lover of modern art, but you would never guess this from his book. His writing about the impressionists and those that followed is extremely interesting and his thoughts on the influence of the art critics gives much food for thought. Throughout the book the thoughts and ideas expressed will be of interest to the art lover as well as the beginner and his point about the crisis for the art critic in todays art world bears repetition. He says that the critics got it horribly wrong when they denigrated the impressionists at their first few exhibitions in Paris and ever since they have been afraid of missing the boat again. He laments that today (1960's when he was writing) critics are little more than chroniclers of art, more concerned with not making a false step than indulging in serious criticism. He says in his postscript to the 1966 edition: \"I took it for granted it was the duty of the critic and of the historian to explain and to justify all artistic experiments in the face of hostile criticism. Today the problem is rather that the shock has worn off and that almost anything experimental seems acceptable to the press and the public. If anybody needs a champion today it is the artist who shuns rebellious gestures\". He goes on to say: \"We have no guarantee that our new responsiveness will not lead us to neglect a real genius among us who forges ahead regardless of fashion and publicity. Moreover the absorption in the present could easily cut us off from our heritage if we came to regard the art of the past as the mere foil against which the new conquests acquire meaning\". In this postscript Gombrich the art critic takes the reins from Gombrich the historian, but it no less fascinating for that. This is a superb story of art, full of insight and an excellent introduction for the beginner and still thought provoking for the art lover. A final word from Gombrich \"There is really no such thing as Art. There are only artists - men and women, that is, who are favoured with the wonderful gift of balancing shapes and colours till they are \"right\" [show less]()\n\n2\n\nIncredibile come Gombrich riesca a far scorrere circa 25 secoli di arte con tanta semplicità e capacità narrativa. È una storia, del resto, e G. ne è grande narratore. Il testo - specialmente in questa edizione con illustrazioni grandi e a colori - è un'ottima introduzione che invoca approfondimenti di ogni genere. Gombrich procede con passi da gigante e quindi in mezzo ci si perde, come è ovvio per una disamina sintetica, molto. Ma l'essenziale c'è tutto e alcune osservazioni di G. sono a tutti gli effetti illuminanti. Solo un po' più debole la parte finale, ma come nota anche G. la storia ha bisogno di distanza per essere ben descritta.\n\nAn intelligent and jargon free tour through the history of Western art. Reading this book for the first time I am reminded of how important it is to know our common Western culture, which is in part a history of paintings, buildings and sculptures which have meaning and beauty as they come to us across the centuries. I almost feel it is a duty to have some knowledge of Western civilisation in this sense if you want to call yourself an educated citizen and heir to the Western tradition. Most people seem content to take photos of their dinner and post them on Instagram, and for those people in this way remaining forever naive of our great artistic, architectural and literary traditions, our common culture of Western civilisation, I feel [show more]()sad. They don't know what they are missing out on. More than that with fewer people having an acquaintance with this common historical culture, society's points of reference are impoverished, our conversations are hollowed out, and civilisation in this country ebbs and gutters like a candle flickering low. You can read this book for nothing if you get it out from a public library, but it enriches you in ways different and perhaps deeper than owning a new BMW and the latest smartphone. Of course as well as reading books like this it is ideal to spend some time wandering around places like Florence, Rome, Athens and Amsterdam and their galleries and museums (and yes, that requires more money, but it still doesn't require you to be rich if you do it in the right way). And after you have read this, watch the full series made for BBC, Civilisation, with Kenneth Clarke talking to camera like an adult and you will further flesh out the story this book narrates so limpidly. [show less]()\n\nJust a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world.\n\nThe inclusions and exclusions of certain artists are, of course, always arbitrary. However, [show more]()Gombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.) What makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else. [show less]()\n\nThis has sat around for over a year looking daunting on the shelf. It's size implying weeks of effort. I needn't have worried. This is Gombrich: erudite, approachable and informative and oh so readable. He's the stereotype of the kindly and informed grandpa.\n\nI was sad that he didn't mirror the visual arts with snippets of the aural, but that's being sad about something that the book isn't. Instead, I got a whistlestop tour of a few thousand years of architecture that I've already mostly forgot. It does feel though that, like \\[Little History of the World\\] that the chapters are short and contained enough, that I'll read a snippet for a refresher for the rest of my life.\n\nÉ de índole conservadora, publicado pela primeira vez em 1950 e basicamente destinado a quem tenha pouco contato formal anterior com a história da arte. O gosto de Gombrich não se desvia do padrão, com um enfoque maior em arte medieval e especialmente Renascença.  \nO que o torna especial, pois? O autor prova que levar a arte a sério significa pensar noutras perspectivas - reais e virtuais, noutros estilos, noutras preocupações e noutro eventual modus operandi estético. Eis uma mensagem a ter-se em conta.\n\n*\\&frac12;*\n\nSir Ernst Gombrich's classic narrative study of art history, first published in 1950. Among the many competing introductory texts the central monuments of which are H.W. Janson's History of Art and Helen Gardner's Art Through the Ages, Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible [show more]()enthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. This book belongs on every art-lover's bedside table. Gombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. This is a comprehensive look at Western art from prehistoric times on up to the present. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art \"as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future.\" Gombrich's invaluable history is a veritable celebration of this \"living chain.\" [show less]()\n\n3\n\nRecently Added By\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0140150080.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/43881\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0393317552.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/29\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0375842209.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/305\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0142437204.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/907\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0714832472.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/11975\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0393317552.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/6948\/)\n\n[![](https:\/\/pics.cdn.librarything.com\/picsizes\/00\/01\/1-c-h100-w50-pv25_597745414141417941475141_v5.png)](https:\/\/www.librarything.com\/list\/43867\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0307744434.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/11\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0307700763.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/47347\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0140135154.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/45533\/)\n\n[![](https:\/\/pics.cdn.librarything.com\/picsizes\/00\/01\/1-c-h100-w50-pv25_597745414141417941475141_v5.png)](https:\/\/www.librarything.com\/list\/44485\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0812921178.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/44452\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0441478123.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/17355\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0385474547.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/43519\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0679755330.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/42566\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0439023521.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/76\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/1400078776.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/10326\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0689707495.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/1079\/)\n\n[![](https:\/\/images-na.ssl-images-amazon.com\/images\/P\/0500284652.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https:\/\/www.librarything.com\/list\/47583\/)\n\n[![Picture of author.](https:\/\/pics.cdn.librarything.com\/\/picsizes\/24\/39\/243957-x-h100-w100-pv25_655057344177426b41475141_v5.jpg)](https:\/\/www.librarything.com\/author\/gombricheh)\n\n107+ Works 12,887 Members\n\nErnst Hans Josef Gombrich, born March 30, 1909, in Vienna, Austria, was educated at Vienna University where he earned a Ph.D. His career includes terms as Slade Professor of Fine Arts at Oxford and Cambridge universities and as Andrew D. White Professor-at-large at Cornell University. Gombrich's books on art and art history have sold as well as [show more]() some works of fiction. One of his most popular titles is The Story of Art, which has been translated into 18 languages and sold more than two million copies. Other titles are; Looking for Answers: Conversations on Art and Science (with Didier Eribon), Shadows: The Depiction of Cast Shadows in Western Art, and Gombrich on Art and Psychology. His numerous awards include the Erasmus Prize in 1975, the Hegel Prize in 1976, and the International Balzan Prize in 1985. He holds honorary degrees from various universities, among them Oxford, Cambridge, and Harvard, and from the Royal College of Art (London), 1981. (Bowker Author Biography) [show less]()\n### Belongs to Publisher Series\nCanonical title\n\nThe Story of Art\n\nOriginal title\n\nThe Story of Art\n\nOriginal publication date\n\n1950\n\nEpigraph\n\n\\[None\\]\n\nDedication\n\n\\[None\\]\n\nFirst words\n\nThis book is intended for all who feel in need of some first orientation in a strange and fascinating field.\n\n**Preface \\[first ed., 1950\\]**.\n***\nThis book was planned from the outset to tell the story of art in both words and pictures by enabling readers as far as possible to have the illustration discussed in the text in front of them, without having to turn the page... ([show all](https:\/\/www.librarything.com\/work\/12957))\n\n.\n\n**Preface to the twelfth edition, November 1971**.\n***\nThere are many more illustrations in colour in this than in the twelfth edition, but the text (except for the bibliography) remains unchanged.\n\n**Preface to the thirteenth edition, July 1977**.\n***\n'Books have a life of their own.' The Roman poet who made this remark could not have imagined that his lines would be copied out of hand for many centuries and would be available on the shelves of our libraries some two thous... ([show all](https:\/\/www.librarything.com\/work\/12957))\n\nand years later.\n\n**Preface to the fourteenth edition, March 1984**.\n***\nPessimists sometimes tell us that in this age of television and videos people have lost the habit of reading and that students, in particular, tend to lack the patience to derive pleasure from reading any book from cover to c... ([show all](https:\/\/www.librarything.com\/work\/12957))\n\nover.\n\n**Preface to the fifteenth edition, March 1989**.\n***\nAs I sit down to add the preface to this latest edition I am filled with amazement and gratitude.\n\n**Preface to the sixteenth edition, December 1994**.\n***\nThere really is no such thing as Art. There are only artists.\n\n**Introduction : On art and artists**.\n***\nWe do not know how art began any more than we know how language started.\n\n**1\\. Strange beginnings : Prehistoric and primitive peoples ; Ancient America**.\n\nQuotations\\*\n\nNo existe, realmente, el Arte. Tan sólo hay artistas.\n\nLast words\n\n([Click to show. Warning: May contain spoilers.](https:\/\/www.librarything.com\/work\/12957))\n\nIt is we who must see to it that the thread of tradition does not break and that there remain opportunities for the artist to add to the precious string of pearls that is our heirloom from the past.\n***\n([Click to show. Warning: May contain spoilers.](https:\/\/www.librarything.com\/work\/12957))\n\nBut is not this constant need for revision one of the thrills of the study of the past?\n\n**(Sixteenth ed., 1995)**.\n\nOriginal language\n\nEnglish\n\n\\*Some information comes from Common Knowledge in other languages. Click \"Edit\" for more information.\n\nGenres\n\n[Art & Design](https:\/\/www.librarything.com\/genre\/30\/Art-Design), [History](https:\/\/www.librarything.com\/genre\/9\/History), [Nonfiction](https:\/\/www.librarything.com\/genre\/62\/Nonfiction), [General Nonfiction](https:\/\/www.librarything.com\/genre\/20\/General-Nonfiction)\n\nDDC\/MDS\n\n[709](https:\/\/www.librarything.com\/mds\/709) — [Arts & recreation](https:\/\/www.librarything.com\/mds\/7XX) [Arts](https:\/\/www.librarything.com\/mds\/70X) [History, geographic treatment, biography](https:\/\/www.librarything.com\/mds\/709)\n\nLCC\n\n[N5300 .G643](https:\/\/www.librarything.com\/lcc\/N5300) — [Fine Arts](https:\/\/www.librarything.com\/lcc\/N) [Visual arts](https:\/\/www.librarything.com\/lcc\/N1-9211) [History](https:\/\/www.librarything.com\/lcc\/N5300-7418)\n\nBISAC\n\nMembers\n\n5,392\n\nPopularity\n\n2,427\n\nReviews\n\n46\n\nRating\n\n*\\&frac12;* (4.31)\n\nLanguages\n\n23 — Bulgarian, Catalan, Chinese, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hebrew, Hungarian, Italian, Latvian, Lithuanian, Norwegian (Bokmål), Polish, Portuguese, Russian, Spanish, Swedish, Turkish\n\nMedia\n\nPaper, Ebook\n\nISBNs\n\n129\n\nUPCs\n\n1\n\nASINs\n\n62","meta_canonical":null}

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Boilerpipe Text	"The Story of Art is one of the most famous and popular books on art ever published. For 45 years it has remained unrivalled as an introduction to the whole subject, from the earliest cave paintings to the experimental art of today. Readers of all ages and backgrounds throughout the world have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating directly his own deep love of the works of art he describes." "The Story of Art owes show more its lasting popularity to the directness and simplicity of the writing, and also the author's skill in presenting a clear narrative. He describes his aim as 'to bring some intelligible order into the wealth of names, periods and styles which crowd the pages of more ambitious works', and using his insight into the psychology of the visual arts, he makes us see the history of art as 'a continuous weaving and changing of traditions in which each work refers to the past and points to the future', 'a living chain that still links our own time with the Pyramid age'. In its new format, the 16th edition of this classic work is set to continue its triumphant progress for future generations and to remain the first choice for all newcomers to art."--Jacket. show less 52 reviews "It is the job of the historian to make intelligible what actually happens, it is the job of the critic to criticise what happens." E H Gombrich (30-03-1909 to 03-11-2001) was both an art historian and an art critic. He was asked to write a text book on the history of art for young people, however his love of art and experience as an art critic resulted in this being much more than a mere text book. He said he wanted to "open eyes and not set tounges wagging" and so he kept technical details to a minimum. His modus operandi was to demonstrate, with reference to the many superb illustrations, what the artist was trying to achieve and what we the viewer should be looking for when we view a painting, sculpture or building. Gombricht does not show more stray far from the western canon and guides the reader through primitive art, Egyptian art, Classical art, Medieval art, the Renaissance (where he is particularly strong), Northern European art, Neo classicism, Pre-Raphaelites, the Impressionists, Expressionism, Modern Art and Experimental Art. He is keen to point out that art has not developed through all of these phases, but that they are links in a chain. He manages to pack into his story enough historical context so that he can demonstrate why artists painted as they did, why art has changed through the ages and what the viewer of art demanded from the artists. It is a full and well rounded history. He tackles head on issues for the beginner in art appreciation, encouraging them to go and see as much art as possible. He explains that much great art is not so concerned with an accurate depiction of its subject; it does not aim to look "like real". The artist is more concerned with showing a thought, a feeling, or an idea and in addition will have issues in separating out what he sees from what he knows. The arrangement of form and the selection of colours are of prime concern to the painter. It has been said that Gombrich was no lover of modern art, but you would never guess this from his book. His writing about the impressionists and those that followed is extremely interesting and his thoughts on the influence of the art critics gives much food for thought. Throughout the book the thoughts and ideas expressed will be of interest to the art lover as well as the beginner and his point about the crisis for the art critic in todays art world bears repetition. He says that the critics got it horribly wrong when they denigrated the impressionists at their first few exhibitions in Paris and ever since they have been afraid of missing the boat again. He laments that today (1960's when he was writing) critics are little more than chroniclers of art, more concerned with not making a false step than indulging in serious criticism. He says in his postscript to the 1966 edition: "I took it for granted it was the duty of the critic and of the historian to explain and to justify all artistic experiments in the face of hostile criticism. Today the problem is rather that the shock has worn off and that almost anything experimental seems acceptable to the press and the public. If anybody needs a champion today it is the artist who shuns rebellious gestures". He goes on to say: "We have no guarantee that our new responsiveness will not lead us to neglect a real genius among us who forges ahead regardless of fashion and publicity. Moreover the absorption in the present could easily cut us off from our heritage if we came to regard the art of the past as the mere foil against which the new conquests acquire meaning". In this postscript Gombrich the art critic takes the reins from Gombrich the historian, but it no less fascinating for that. This is a superb story of art, full of insight and an excellent introduction for the beginner and still thought provoking for the art lover. A final word from Gombrich "There is really no such thing as Art. There are only artists - men and women, that is, who are favoured with the wonderful gift of balancing shapes and colours till they are "right" show less 2 Incredibile come Gombrich riesca a far scorrere circa 25 secoli di arte con tanta semplicità e capacità narrativa. È una storia, del resto, e G. ne è grande narratore. Il testo - specialmente in questa edizione con illustrazioni grandi e a colori - è un'ottima introduzione che invoca approfondimenti di ogni genere. Gombrich procede con passi da gigante e quindi in mezzo ci si perde, come è ovvio per una disamina sintetica, molto. Ma l'essenziale c'è tutto e alcune osservazioni di G. sono a tutti gli effetti illuminanti. Solo un po' più debole la parte finale, ma come nota anche G. la storia ha bisogno di distanza per essere ben descritta. An intelligent and jargon free tour through the history of Western art. Reading this book for the first time I am reminded of how important it is to know our common Western culture, which is in part a history of paintings, buildings and sculptures which have meaning and beauty as they come to us across the centuries. I almost feel it is a duty to have some knowledge of Western civilisation in this sense if you want to call yourself an educated citizen and heir to the Western tradition. Most people seem content to take photos of their dinner and post them on Instagram, and for those people in this way remaining forever naive of our great artistic, architectural and literary traditions, our common culture of Western civilisation, I feel show more sad. They don't know what they are missing out on. More than that with fewer people having an acquaintance with this common historical culture, society's points of reference are impoverished, our conversations are hollowed out, and civilisation in this country ebbs and gutters like a candle flickering low. You can read this book for nothing if you get it out from a public library, but it enriches you in ways different and perhaps deeper than owning a new BMW and the latest smartphone. Of course as well as reading books like this it is ideal to spend some time wandering around places like Florence, Rome, Athens and Amsterdam and their galleries and museums (and yes, that requires more money, but it still doesn't require you to be rich if you do it in the right way). And after you have read this, watch the full series made for BBC, Civilisation, with Kenneth Clarke talking to camera like an adult and you will further flesh out the story this book narrates so limpidly. show less Just a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world. The inclusions and exclusions of certain artists are, of course, always arbitrary. However, show more Gombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.) What makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else. show less This has sat around for over a year looking daunting on the shelf. It's size implying weeks of effort. I needn't have worried. This is Gombrich: erudite, approachable and informative and oh so readable. He's the stereotype of the kindly and informed grandpa. I was sad that he didn't mirror the visual arts with snippets of the aural, but that's being sad about something that the book isn't. Instead, I got a whistlestop tour of a few thousand years of architecture that I've already mostly forgot. It does feel though that, like [Little History of the World] that the chapters are short and contained enough, that I'll read a snippet for a refresher for the rest of my life. É de índole conservadora, publicado pela primeira vez em 1950 e basicamente destinado a quem tenha pouco contato formal anterior com a história da arte. O gosto de Gombrich não se desvia do padrão, com um enfoque maior em arte medieval e especialmente Renascença. O que o torna especial, pois? O autor prova que levar a arte a sério significa pensar noutras perspectivas - reais e virtuais, noutros estilos, noutras preocupações e noutro eventual modus operandi estético. Eis uma mensagem a ter-se em conta. ½ Sir Ernst Gombrich's classic narrative study of art history, first published in 1950. Among the many competing introductory texts the central monuments of which are H.W. Janson's History of Art and Helen Gardner's Art Through the Ages, Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible show more enthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. This book belongs on every art-lover's bedside table. Gombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. This is a comprehensive look at Western art from prehistoric times on up to the present. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art "as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future." Gombrich's invaluable history is a veritable celebration of this "living chain." show less 3 Recently Added By 107+ Works 12,887 Members Ernst Hans Josef Gombrich, born March 30, 1909, in Vienna, Austria, was educated at Vienna University where he earned a Ph.D. His career includes terms as Slade Professor of Fine Arts at Oxford and Cambridge universities and as Andrew D. White Professor-at-large at Cornell University. Gombrich's books on art and art history have sold as well as show more some works of fiction. One of his most popular titles is The Story of Art, which has been translated into 18 languages and sold more than two million copies. Other titles are; Looking for Answers: Conversations on Art and Science (with Didier Eribon), Shadows: The Depiction of Cast Shadows in Western Art, and Gombrich on Art and Psychology. His numerous awards include the Erasmus Prize in 1975, the Hegel Prize in 1976, and the International Balzan Prize in 1985. He holds honorary degrees from various universities, among them Oxford, Cambridge, and Harvard, and from the Royal College of Art (London), 1981. (Bowker Author Biography) show less Belongs to Publisher Series Canonical title The Story of Art Original title The Story of Art Original publication date 1950 Epigraph [None] Dedication [None] First words This book is intended for all who feel in need of some first orientation in a strange and fascinating field. Preface [first ed., 1950] . This book was planned from the outset to tell the story of art in both words and pictures by enabling readers as far as possible to have the illustration discussed in the text in front of them, without having to turn the page ... ( show all ) . Preface to the twelfth edition, November 1971 . There are many more illustrations in colour in this than in the twelfth edition, but the text (except for the bibliography) remains unchanged. Preface to the thirteenth edition, July 1977 . 'Books have a life of their own.' The Roman poet who made this remark could not have imagined that his lines would be copied out of hand for many centuries and would be available on the shelves of our libraries some two thous ... ( show all ) and years later. Preface to the fourteenth edition, March 1984 . Pessimists sometimes tell us that in this age of television and videos people have lost the habit of reading and that students, in particular, tend to lack the patience to derive pleasure from reading any book from cover to c ... ( show all ) over. Preface to the fifteenth edition, March 1989 . As I sit down to add the preface to this latest edition I am filled with amazement and gratitude. Preface to the sixteenth edition, December 1994 . There really is no such thing as Art. There are only artists. Introduction : On art and artists . We do not know how art began any more than we know how language started. 1. Strange beginnings : Prehistoric and primitive peoples ; Ancient America . Quotations* No existe, realmente, el Arte. Tan sólo hay artistas. Last words ( Click to show. Warning: May contain spoilers. ) It is we who must see to it that the thread of tradition does not break and that there remain opportunities for the artist to add to the precious string of pearls that is our heirloom from the past. ( Click to show. Warning: May contain spoilers. ) But is not this constant need for revision one of the thrills of the study of the past? (Sixteenth ed., 1995) . Original language English *Some information comes from Common Knowledge in other languages. Click "Edit" for more information. Genres Art & Design , History , Nonfiction , General Nonfiction DDC/MDS 709 — Arts & recreation Arts History, geographic treatment, biography LCC N5300 .G643 — Fine Arts Visual arts History BISAC Members 5,392 Popularity 2,427 Reviews 46 Rating ½ (4.31) Languages 23 — Bulgarian, Catalan, Chinese, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hebrew, Hungarian, Italian, Latvian , Lithuanian, Norwegian (Bokmål), Polish, Portuguese, Russian, Spanish, Swedish, Turkish Media Paper, Ebook ISBNs 129 UPCs 1 ASINs 62
Markdown	[Skip to main content](https://www.librarything.com/work/12957#lt2_content) [![20 Years of LibraryThing](https://image.librarything.com/pics/20years/20year_ribbon_masthead4_60h.png)![LibraryThing Home](https://image.librarything.com/pics/20years/lt_wordmark_white_100h.png) ![LibraryThing Home](https://image.librarything.com/pics/20years/lt2_logo_Lonly_50h.png)](https://www.librarything.com/ "Home") [Home](https://www.librarything.com/)[Groups](https://www.librarything.com/ngroups)[Talk](https://www.librarything.com/talk)[More](https://www.librarything.com/more)[Zeitgeist](https://www.librarything.com/zeitgeist) [Home](https://www.librarything.com/) [Groups](https://www.librarything.com/ngroups) [Talk](https://www.librarything.com/talk) [More](https://www.librarything.com/more) [Zeitgeist](https://www.librarything.com/zeitgeist) [Sign in / Join](https://www.librarything.com/) [English](https://www.librarything.com/work/12957)[Help](https://www.librarything.com/work/12957) - [Sign in / Join](https://www.librarything.com/) - [English](https://www.librarything.com/work/12957) - [Help](https://www.librarything.com/work/12957) Overview [Overview](https://www.librarything.com/work/12957/t/The-Story-of-Art) ## Work [Reviews](https://www.librarything.com/work/12957/reviews)[Recommendations](https://www.librarything.com/work/12957/recommendations)[Covers](https://www.librarything.com/work/12957/covers)[Community](https://www.librarything.com/work/12957/social)[Classification](https://www.librarything.com/work/12957/classification)[Descriptions](https://www.librarything.com/work/12957/descriptions)[Editions](https://www.librarything.com/work/12957/editions)[Helper Hub](https://www.librarything.com/work/12957/helperhub) ![](https://images-na.ssl-images-amazon.com/images/P/0714832472.01._SX200_SY400_SCLZZZZZZZ_.jpg) # The Story of Art ### by [Ernst Gombrich](https://www.librarything.com/author/gombricheh) [5,392 Members](https://www.librarything.com/work/12957/social) [46 Reviews]() \½ (4.31) [7 Awards]() ## On This Page [Description]() [Tags]() [Recommendations]() [Member Reviews]() [Members]() [Lists]() [Author Information]() [Awards and Honors]() [Series]() [Work Relationships]() [Common Knowledge]() [Classifications]() [Statistics]() [Quick Facts](https://www.librarything.com/work/12957#section_quickfacts) ## Description "The Story of Art is one of the most famous and popular books on art ever published. For 45 years it has remained unrivalled as an introduction to the whole subject, from the earliest cave paintings to the experimental art of today. Readers of all ages and backgrounds throughout the world have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating directly his own deep love of the works of art he describes." "The Story of Art owes [show more]() its lasting popularity to the directness and simplicity of the writing, and also the author's skill in presenting a clear narrative. He describes his aim as 'to bring some intelligible order into the wealth of names, periods and styles which crowd the pages of more ambitious works', and using his insight into the psychology of the visual arts, he makes us see the history of art as 'a continuous weaving and changing of traditions in which each work refers to the past and points to the future', 'a living chain that still links our own time with the Pyramid age'. In its new format, the 16th edition of this classic work is set to continue its triumphant progress for future generations and to remain the first choice for all newcomers to art."--Jacket. 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Recommendations](https://www.librarything.com/work/12957/recommendations) ## Member Reviews [Featured]()[Recent]()[Thumbs]() Expand All Rating - All Ratings - 224 - \½ 28 - 152 - \½ 12 - 58 - \½ 2 - 5 - \½ 1 - 1 - No Rating Language - All Languages - English39 - Spanish7 - French2 - Catalan1 - Dutch1 - Italian1 - Romanian1 52 reviews [baswood](https://www.librarything.com/profile/baswood)[1,197 reviews](https://www.librarything.com/reviews/baswood) "It is the job of the historian to make intelligible what actually happens, it is the job of the critic to criticise what happens." E H Gombrich (30-03-1909 to 03-11-2001) was both an art historian and an art critic. He was asked to write a text book on the history of art for young people, however his love of art and experience as an art critic resulted in this being much more than a mere text book. He said he wanted to "open eyes and not set tounges wagging" and so he kept technical details to a minimum. His modus operandi was to demonstrate, with reference to the many superb illustrations, what the artist was trying to achieve and what we the viewer should be looking for when we view a painting, sculpture or building. Gombricht does not [show more]() stray far from the western canon and guides the reader through primitive art, Egyptian art, Classical art, Medieval art, the Renaissance (where he is particularly strong), Northern European art, Neo classicism, Pre-Raphaelites, the Impressionists, Expressionism, Modern Art and Experimental Art. He is keen to point out that art has not developed through all of these phases, but that they are links in a chain. He manages to pack into his story enough historical context so that he can demonstrate why artists painted as they did, why art has changed through the ages and what the viewer of art demanded from the artists. It is a full and well rounded history. He tackles head on issues for the beginner in art appreciation, encouraging them to go and see as much art as possible. He explains that much great art is not so concerned with an accurate depiction of its subject; it does not aim to look "like real". The artist is more concerned with showing a thought, a feeling, or an idea and in addition will have issues in separating out what he sees from what he knows. The arrangement of form and the selection of colours are of prime concern to the painter. It has been said that Gombrich was no lover of modern art, but you would never guess this from his book. His writing about the impressionists and those that followed is extremely interesting and his thoughts on the influence of the art critics gives much food for thought. Throughout the book the thoughts and ideas expressed will be of interest to the art lover as well as the beginner and his point about the crisis for the art critic in todays art world bears repetition. He says that the critics got it horribly wrong when they denigrated the impressionists at their first few exhibitions in Paris and ever since they have been afraid of missing the boat again. He laments that today (1960's when he was writing) critics are little more than chroniclers of art, more concerned with not making a false step than indulging in serious criticism. He says in his postscript to the 1966 edition: "I took it for granted it was the duty of the critic and of the historian to explain and to justify all artistic experiments in the face of hostile criticism. Today the problem is rather that the shock has worn off and that almost anything experimental seems acceptable to the press and the public. If anybody needs a champion today it is the artist who shuns rebellious gestures". He goes on to say: "We have no guarantee that our new responsiveness will not lead us to neglect a real genius among us who forges ahead regardless of fashion and publicity. Moreover the absorption in the present could easily cut us off from our heritage if we came to regard the art of the past as the mere foil against which the new conquests acquire meaning". In this postscript Gombrich the art critic takes the reins from Gombrich the historian, but it no less fascinating for that. This is a superb story of art, full of insight and an excellent introduction for the beginner and still thought provoking for the art lover. A final word from Gombrich "There is really no such thing as Art. There are only artists - men and women, that is, who are favoured with the wonderful gift of balancing shapes and colours till they are "right" [show less]() [Apr 28, 2011](https://www.librarything.com/work/12957/reviews/72759972) 2 [d.v.](https://www.librarything.com/profile/d.v.)[999 reviews](https://www.librarything.com/reviews/d.v.) Incredibile come Gombrich riesca a far scorrere circa 25 secoli di arte con tanta semplicità e capacità narrativa. È una storia, del resto, e G. ne è grande narratore. Il testo - specialmente in questa edizione con illustrazioni grandi e a colori - è un'ottima introduzione che invoca approfondimenti di ogni genere. Gombrich procede con passi da gigante e quindi in mezzo ci si perde, come è ovvio per una disamina sintetica, molto. Ma l'essenziale c'è tutto e alcune osservazioni di G. sono a tutti gli effetti illuminanti. Solo un po' più debole la parte finale, ma come nota anche G. la storia ha bisogno di distanza per essere ben descritta. [May 16, 2023](https://www.librarything.com/work/12957/reviews/240533769) [Tom.Wilson](https://www.librarything.com/profile/Tom.Wilson)[114 reviews](https://www.librarything.com/reviews/Tom.Wilson) An intelligent and jargon free tour through the history of Western art. Reading this book for the first time I am reminded of how important it is to know our common Western culture, which is in part a history of paintings, buildings and sculptures which have meaning and beauty as they come to us across the centuries. I almost feel it is a duty to have some knowledge of Western civilisation in this sense if you want to call yourself an educated citizen and heir to the Western tradition. Most people seem content to take photos of their dinner and post them on Instagram, and for those people in this way remaining forever naive of our great artistic, architectural and literary traditions, our common culture of Western civilisation, I feel [show more]() sad. They don't know what they are missing out on. More than that with fewer people having an acquaintance with this common historical culture, society's points of reference are impoverished, our conversations are hollowed out, and civilisation in this country ebbs and gutters like a candle flickering low. You can read this book for nothing if you get it out from a public library, but it enriches you in ways different and perhaps deeper than owning a new BMW and the latest smartphone. Of course as well as reading books like this it is ideal to spend some time wandering around places like Florence, Rome, Athens and Amsterdam and their galleries and museums (and yes, that requires more money, but it still doesn't require you to be rich if you do it in the right way). And after you have read this, watch the full series made for BBC, Civilisation, with Kenneth Clarke talking to camera like an adult and you will further flesh out the story this book narrates so limpidly. [show less]() [Jul 29, 2024 (Edited)](https://www.librarything.com/work/12957/reviews/268688006) [kant1066](https://www.librarything.com/profile/kant1066)[207 reviews](https://www.librarything.com/reviews/kant1066) Just a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world. The inclusions and exclusions of certain artists are, of course, always arbitrary. However, [show more]() Gombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.) What makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else. [show less]() [Nov 28, 2011](https://www.librarything.com/work/12957/reviews/80397371) [thenumeraltwo](https://www.librarything.com/profile/thenumeraltwo)[124 reviews](https://www.librarything.com/reviews/thenumeraltwo) This has sat around for over a year looking daunting on the shelf. It's size implying weeks of effort. I needn't have worried. This is Gombrich: erudite, approachable and informative and oh so readable. He's the stereotype of the kindly and informed grandpa. I was sad that he didn't mirror the visual arts with snippets of the aural, but that's being sad about something that the book isn't. Instead, I got a whistlestop tour of a few thousand years of architecture that I've already mostly forgot. It does feel though that, like \[Little History of the World\] that the chapters are short and contained enough, that I'll read a snippet for a refresher for the rest of my life. [Feb 11, 2020](https://www.librarything.com/work/12957/reviews/121071826) [jgcorrea](https://www.librarything.com/profile/jgcorrea)[2,631 reviews](https://www.librarything.com/reviews/jgcorrea) É de índole conservadora, publicado pela primeira vez em 1950 e basicamente destinado a quem tenha pouco contato formal anterior com a história da arte. O gosto de Gombrich não se desvia do padrão, com um enfoque maior em arte medieval e especialmente Renascença. O que o torna especial, pois? O autor prova que levar a arte a sério significa pensar noutras perspectivas - reais e virtuais, noutros estilos, noutras preocupações e noutro eventual modus operandi estético. Eis uma mensagem a ter-se em conta. \½ [Dec 29, 2018 (Edited)](https://www.librarything.com/work/12957/reviews/76781002) [antimuzak](https://www.librarything.com/profile/antimuzak)[2,206 reviews](https://www.librarything.com/reviews/antimuzak) Sir Ernst Gombrich's classic narrative study of art history, first published in 1950. Among the many competing introductory texts the central monuments of which are H.W. Janson's History of Art and Helen Gardner's Art Through the Ages, Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible [show more]() enthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. This book belongs on every art-lover's bedside table. Gombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. This is a comprehensive look at Western art from prehistoric times on up to the present. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art "as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future." Gombrich's invaluable history is a veritable celebration of this "living chain." 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25 members [![](https://images-na.ssl-images-amazon.com/images/P/0500284652.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/47583/) [Books in the Bibliography of The Mind in the Cave by David Lewis-Williams](https://www.librarything.com/list/47583/all/Books-in-the-Bibliography-of-The-Mind-in-the-Cave-by-David-Lewis-Williams) 257 works; 1 member ## Author Information [![Picture of author.](https://pics.cdn.librarything.com//picsizes/24/39/243957-x-h100-w100-pv25_655057344177426b41475141_v5.jpg)](https://www.librarything.com/author/gombricheh) [Ernst Gombrich](https://www.librarything.com/author/gombricheh) 107+ Works 12,887 Members Ernst Hans Josef Gombrich, born March 30, 1909, in Vienna, Austria, was educated at Vienna University where he earned a Ph.D. His career includes terms as Slade Professor of Fine Arts at Oxford and Cambridge universities and as Andrew D. White Professor-at-large at Cornell University. Gombrich's books on art and art history have sold as well as [show more]() some works of fiction. One of his most popular titles is The Story of Art, which has been translated into 18 languages and sold more than two million copies. Other titles are; Looking for Answers: Conversations on Art and Science (with Didier Eribon), Shadows: The Depiction of Cast Shadows in Western Art, and Gombrich on Art and Psychology. His numerous awards include the Erasmus Prize in 1975, the Hegel Prize in 1976, and the International Balzan Prize in 1985. He holds honorary degrees from various universities, among them Oxford, Cambridge, and Harvard, and from the Royal College of Art (London), 1981. (Bowker Author Biography) [show less]() ### Some Editions [Houtzager, M. Elisabeth](https://www.librarything.com/author/houtzagermelisabeth) (Translator) [Георгиев, Никола](https://www.librarything.com/author/2530256506) (Translator) ## Awards and Honors ### Notable Lists [Outstanding Books for the College Bound and Lifelong Learners](https://www.librarything.com/award/42/Outstanding-Books-for-the-College-Bound-and-Lifelong-Learners) ([Non-fiction](https://www.librarything.com/award/42.0.6/Outstanding-Books-for-the-College-Bound-and-Lifelong-Learners-Non-fiction) – [1999](https://www.librarything.com/award/42.0.0.1999/Outstanding-Books-for-the-College-Bound-and-Lifelong-Learners-1999)) [Harenberg Buch der 1000 Bücher](https://www.librarything.com/award/4/Harenberg-Buch-der-1000-B%C3%BCcher) [The Guardian Essential Library](https://www.librarything.com/award/156/The-Guardian-Essential-Library) ([Art and music](https://www.librarything.com/award/156.0.24680/The-Guardian-Essential-Library-Art-and-music)) [The Guardian 100 Greatest Non-Fiction](https://www.librarything.com/award/275/The-Guardian-100-Greatest-Non-Fiction) ([Art](https://www.librarything.com/award/275.0.2434/The-Guardian-100-Greatest-Non-Fiction-Art)) [200 best non-fiction books according to Afisha Magazine](https://www.librarything.com/award/629/200-best-non-fiction-books-according-to-Afisha-Magazine) [Philip Ward's Lifetime Reading Plan](https://www.librarything.com/award/59/Philip-Wards-Lifetime-Reading-Plan) ([Year 1](https://www.librarything.com/award/59.0.1847/Philip-Wards-Lifetime-Reading-Plan-Year-1)) [10 non-fiction книг, рекомендованных журналу Slon](https://www.librarything.com/award/977/10-non-fiction-%D0%BA%D0%BD%D0%B8%D0%B3-%D1%80%D0%B5%D0%BA%D0%BE%D0%BC%D0%B5%D0%BD%D0%B4%D0%BE%D0%B2%D0%B0%D0%BD%D0%BD%D1%8B%D1%85-%D0%B6%D1%83%D1%80%D0%BD%D0%B0%D0%BB%D1%83-Slon) ## Series ### Belongs to Publisher Series [Companion Book Club](https://www.librarything.com/nseries/259420/Companion-Book-Club) ## Work Relationships ### Contains [L'art et son histoire des origines à nos jours : Tome 1](https://www.librarything.com/work/14276280/t/Lart-et-son-histoire-des-origines-%C3%A0-nos-jours-Tome-1) by [Ernst Hans Gombrich](https://www.librarything.com/author/gombrichernsthans) [L'Art et son histoire, des origines à nos jours : tome 2](https://www.librarything.com/work/14276282/t/LArt-et-son-histoire-des-origines-%C3%A0-nos-jours-tome-2) by [Ernst Hans Gombrich](https://www.librarything.com/author/gombrichernsthans) ## Common Knowledge Canonical title The Story of Art Original title The Story of Art Original publication date 1950 Epigraph \[None\] Dedication \[None\] First words This book is intended for all who feel in need of some first orientation in a strange and fascinating field. Preface \[first ed., 1950\]. * This book was planned from the outset to tell the story of art in both words and pictures by enabling readers as far as possible to have the illustration discussed in the text in front of them, without having to turn the page... ([show all](https://www.librarything.com/work/12957)) . Preface to the twelfth edition, November 1971. * There are many more illustrations in colour in this than in the twelfth edition, but the text (except for the bibliography) remains unchanged. Preface to the thirteenth edition, July 1977. * 'Books have a life of their own.' The Roman poet who made this remark could not have imagined that his lines would be copied out of hand for many centuries and would be available on the shelves of our libraries some two thous... ([show all](https://www.librarything.com/work/12957)) and years later. Preface to the fourteenth edition, March 1984. * Pessimists sometimes tell us that in this age of television and videos people have lost the habit of reading and that students, in particular, tend to lack the patience to derive pleasure from reading any book from cover to c... ([show all](https://www.librarything.com/work/12957)) over. Preface to the fifteenth edition, March 1989. * As I sit down to add the preface to this latest edition I am filled with amazement and gratitude. Preface to the sixteenth edition, December 1994. * There really is no such thing as Art. There are only artists. Introduction : On art and artists. * We do not know how art began any more than we know how language started. 1\. Strange beginnings : Prehistoric and primitive peoples ; Ancient America*. Quotations\ No existe, realmente, el Arte. Tan sólo hay artistas. Last words ([Click to show. Warning: May contain spoilers.](https://www.librarything.com/work/12957)) It is we who must see to it that the thread of tradition does not break and that there remain opportunities for the artist to add to the precious string of pearls that is our heirloom from the past. * ([Click to show. Warning: May contain spoilers.](https://www.librarything.com/work/12957))But is not this constant need for revision one of the thrills of the study of the past? (Sixteenth ed., 1995)*. Original language English \Some information comes from Common Knowledge in other languages. Click "Edit" for more information. ## Classifications Genres [Art & Design](https://www.librarything.com/genre/30/Art-Design), [History](https://www.librarything.com/genre/9/History), [Nonfiction](https://www.librarything.com/genre/62/Nonfiction), [General Nonfiction](https://www.librarything.com/genre/20/General-Nonfiction) DDC/MDS [709](https://www.librarything.com/mds/709) — [Arts & recreation](https://www.librarything.com/mds/7XX) [Arts](https://www.librarything.com/mds/70X) [History, geographic treatment, biography](https://www.librarything.com/mds/709) LCC [N5300 .G643](https://www.librarything.com/lcc/N5300) — [Fine Arts](https://www.librarything.com/lcc/N) [Visual arts](https://www.librarything.com/lcc/N1-9211) [History](https://www.librarything.com/lcc/N5300-7418) BISAC [ART ART](https://www.librarything.com/BISAC/heading/ART) [History](https://www.librarything.com/BISAC/heading/ART/facet/59) [General](https://www.librarything.com/BISAC/heading/ART/facet/59/1) [ART ART](https://www.librarything.com/BISAC/heading/ART) [Individual Artists](https://www.librarything.com/BISAC/heading/ART/facet/115) [General](https://www.librarything.com/BISAC/heading/ART/facet/115/1) [ART ART](https://www.librarything.com/BISAC/heading/ART) [General](https://www.librarything.com/BISAC/heading/ART/facet/1) [ART ART](https://www.librarything.com/BISAC/heading/ART) [Subjects & Themes](https://www.librarything.com/BISAC/heading/ART/facet/126) [General](https://www.librarything.com/BISAC/heading/ART/facet/126/1) [ART ART](https://www.librarything.com/BISAC/heading/ART) [History](https://www.librarything.com/BISAC/heading/ART/facet/59) [Contemporary (1945-)](https://www.librarything.com/BISAC/heading/ART/facet/59/67) [More Classifications](https://www.librarything.com/work/12957/classification) ## Statistics Members 5,392 Popularity 2,427 Reviews 46 Rating \½ (4.31) Languages 23 — Bulgarian, Catalan, Chinese, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hebrew, Hungarian, Italian, Latvian, Lithuanian, Norwegian (Bokmål), Polish, Portuguese, Russian, Spanish, Swedish, Turkish Media Paper, Ebook ISBNs 129 UPCs 1 ASINs 62 ## Quick Facts Published 1950 Genres [Art & Design](https://www.librarything.com/genre/30/Art-Design), [History](https://www.librarything.com/genre/9/History), [Nonfiction](https://www.librarything.com/genre/62/Nonfiction), [General Nonfiction](https://www.librarything.com/genre/20/General-Nonfiction) DDC/MDS [709](https://www.librarything.com/mds/709) LCC [N5300 .G643](https://www.librarything.com/lcc/N5300) ## Author [![Picture of author.](https://pics.cdn.librarything.com//picsizes/24/39/243957-x-h100-w100-pv25_655057344177426b41475141_v5.jpg)](https://www.librarything.com/author/gombricheh) [Ernst Gombrich](https://www.librarything.com/author/gombricheh) 107+ Works 12,887 Members ## Popular Covers ## Find It [More](https://www.librarything.com/work/12957/quicklinks) ## Links No links ## Popularity [93% 79% 75% 79% 85% 87% 76% 100% 93% 70% 70% 75% 75% 59% 2012 2026](https://www.librarything.com/work/12957/social#section_popularity "See more charts...") ## Ratings Stars: \½ (4.31) [5 268 4 176 3 66 2 9 1 15.0 239 4.5 29 4.0 164 3.5 12 3.0 64 2.5 2 2.0 8 1.5 1 1.0 1 0.5 0Click to expandClick to reduce]("Click to toggle half stars") ## Helpers [Helper Hub](https://www.librarything.com/work/12957/helperhub) Share [Change Style](https://www.librarything.com/work/12957)[Desktop ViewMobile View](https://www.librarything.com/work/12957 "Toggle Desktop Version") [Home](https://www.librarything.com/)[About](https://www.librarything.com/about)[Contact](https://www.librarything.com/contact)[Privacy](https://www.librarything.com/privacy)[Help](https://www.librarything.com/work/12957) [Blog](https://blog.librarything.com/)[WikiThing](https://wiki.librarything.com/)[Common Knowledge](https://www.librarything.com/commonknowledge/)[Early Reviewers](https://www.librarything.com/ner)[Legacy Libraries](https://www.librarything.com/legacylibraries)[Local](https://www.librarything.com/local)[APIs](https://www.librarything.com/developer)[TinyCat](https://www.librarycat.org/) ![20 Years of LibraryThing](https://image.librarything.com/pics/lt20footer2_25h.png) [Verdana Standard](https://www.librarything.com/work/12957 "verdant_14")[Verdana Small](https://www.librarything.com/work/12957 "verdant_12")[The Lorax](https://www.librarything.com/work/12957 "verdant_tight_12")[System Standard](https://www.librarything.com/work/12957 "system_14")[System Large](https://www.librarything.com/work/12957 "system_15")[Georgia](https://www.librarything.com/work/12957 "georgia_14")[Large Text](https://www.librarything.com/work/12957 "system_large")[Atkinson](https://www.librarything.com/work/12957 "atkinson_16")
Readable Markdown	![](https://images-na.ssl-images-amazon.com/images/P/0714832472.01._SX200_SY400_SCLZZZZZZZ_.jpg) "The Story of Art is one of the most famous and popular books on art ever published. For 45 years it has remained unrivalled as an introduction to the whole subject, from the earliest cave paintings to the experimental art of today. Readers of all ages and backgrounds throughout the world have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating directly his own deep love of the works of art he describes." "The Story of Art owes [show more]() its lasting popularity to the directness and simplicity of the writing, and also the author's skill in presenting a clear narrative. He describes his aim as 'to bring some intelligible order into the wealth of names, periods and styles which crowd the pages of more ambitious works', and using his insight into the psychology of the visual arts, he makes us see the history of art as 'a continuous weaving and changing of traditions in which each work refers to the past and points to the future', 'a living chain that still links our own time with the Pyramid age'. In its new format, the 16th edition of this classic work is set to continue its triumphant progress for future generations and to remain the first choice for all newcomers to art."--Jacket. 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job of the critic to criticise what happens." E H Gombrich (30-03-1909 to 03-11-2001) was both an art historian and an art critic. He was asked to write a text book on the history of art for young people, however his love of art and experience as an art critic resulted in this being much more than a mere text book. He said he wanted to "open eyes and not set tounges wagging" and so he kept technical details to a minimum. His modus operandi was to demonstrate, with reference to the many superb illustrations, what the artist was trying to achieve and what we the viewer should be looking for when we view a painting, sculpture or building. Gombricht does not [show more]()stray far from the western canon and guides the reader through primitive art, Egyptian art, Classical art, Medieval art, the Renaissance (where he is particularly strong), Northern European art, Neo classicism, Pre-Raphaelites, the Impressionists, Expressionism, Modern Art and Experimental Art. He is keen to point out that art has not developed through all of these phases, but that they are links in a chain. He manages to pack into his story enough historical context so that he can demonstrate why artists painted as they did, why art has changed through the ages and what the viewer of art demanded from the artists. It is a full and well rounded history. He tackles head on issues for the beginner in art appreciation, encouraging them to go and see as much art as possible. He explains that much great art is not so concerned with an accurate depiction of its subject; it does not aim to look "like real". The artist is more concerned with showing a thought, a feeling, or an idea and in addition will have issues in separating out what he sees from what he knows. The arrangement of form and the selection of colours are of prime concern to the painter. It has been said that Gombrich was no lover of modern art, but you would never guess this from his book. His writing about the impressionists and those that followed is extremely interesting and his thoughts on the influence of the art critics gives much food for thought. Throughout the book the thoughts and ideas expressed will be of interest to the art lover as well as the beginner and his point about the crisis for the art critic in todays art world bears repetition. He says that the critics got it horribly wrong when they denigrated the impressionists at their first few exhibitions in Paris and ever since they have been afraid of missing the boat again. He laments that today (1960's when he was writing) critics are little more than chroniclers of art, more concerned with not making a false step than indulging in serious criticism. He says in his postscript to the 1966 edition: "I took it for granted it was the duty of the critic and of the historian to explain and to justify all artistic experiments in the face of hostile criticism. Today the problem is rather that the shock has worn off and that almost anything experimental seems acceptable to the press and the public. If anybody needs a champion today it is the artist who shuns rebellious gestures". He goes on to say: "We have no guarantee that our new responsiveness will not lead us to neglect a real genius among us who forges ahead regardless of fashion and publicity. Moreover the absorption in the present could easily cut us off from our heritage if we came to regard the art of the past as the mere foil against which the new conquests acquire meaning". In this postscript Gombrich the art critic takes the reins from Gombrich the historian, but it no less fascinating for that. This is a superb story of art, full of insight and an excellent introduction for the beginner and still thought provoking for the art lover. A final word from Gombrich "There is really no such thing as Art. There are only artists - men and women, that is, who are favoured with the wonderful gift of balancing shapes and colours till they are "right" [show less]() 2 Incredibile come Gombrich riesca a far scorrere circa 25 secoli di arte con tanta semplicità e capacità narrativa. È una storia, del resto, e G. ne è grande narratore. Il testo - specialmente in questa edizione con illustrazioni grandi e a colori - è un'ottima introduzione che invoca approfondimenti di ogni genere. Gombrich procede con passi da gigante e quindi in mezzo ci si perde, come è ovvio per una disamina sintetica, molto. Ma l'essenziale c'è tutto e alcune osservazioni di G. sono a tutti gli effetti illuminanti. Solo un po' più debole la parte finale, ma come nota anche G. la storia ha bisogno di distanza per essere ben descritta. An intelligent and jargon free tour through the history of Western art. Reading this book for the first time I am reminded of how important it is to know our common Western culture, which is in part a history of paintings, buildings and sculptures which have meaning and beauty as they come to us across the centuries. I almost feel it is a duty to have some knowledge of Western civilisation in this sense if you want to call yourself an educated citizen and heir to the Western tradition. Most people seem content to take photos of their dinner and post them on Instagram, and for those people in this way remaining forever naive of our great artistic, architectural and literary traditions, our common culture of Western civilisation, I feel [show more]()sad. They don't know what they are missing out on. More than that with fewer people having an acquaintance with this common historical culture, society's points of reference are impoverished, our conversations are hollowed out, and civilisation in this country ebbs and gutters like a candle flickering low. You can read this book for nothing if you get it out from a public library, but it enriches you in ways different and perhaps deeper than owning a new BMW and the latest smartphone. Of course as well as reading books like this it is ideal to spend some time wandering around places like Florence, Rome, Athens and Amsterdam and their galleries and museums (and yes, that requires more money, but it still doesn't require you to be rich if you do it in the right way). And after you have read this, watch the full series made for BBC, Civilisation, with Kenneth Clarke talking to camera like an adult and you will further flesh out the story this book narrates so limpidly. [show less]() Just a dozen or so pages into this book, I knew that it was one I wish I would have had access to when I was first seriously exposed to art. While in many respects, it is a conservative textbook (being first published in 1950), it is fundamentally meant for someone who has little to no previous formal contact with art history. Of course, if you have some, this can make you seriously engage some of your previously held assumptions about what you like and why you like it, but I got the distinct impression while reading that it was meant to initiate a teenager – a teenager who very much reminded of me of myself – into a whole new world. The inclusions and exclusions of certain artists are, of course, always arbitrary. However, [show more]()Gombrich’s choices do not deviate too much from a standard art history text. What particularly drew me to the book was what I perceived to be its inordinate focus on medieval and especially Renaissance art. Of the twenty-eight chapters included in the book, about five mostly focus on Western medieval images (6 and 8-11). Another six chapters (13-18) focus on the art of the Western Renaissance. Most surveys of art history to which I had been previously exposed paid scant attention to medieval art and they sometimes did not give the Renaissance the space that I felt it deserved. There is no doubt the medieval and Renaissance art Gombrich’s pet periods here (and, admittedly, they’re mine, too.) What makes it so special is that, instead of spending the first chapter in an abstract exercise of thinking about what “Art” is, he forces you over and over again to take the art on its own terms. While discussing the various visual perspectives painted by the artist of “The Garden of Nebamun,” he says: “To us reliefs and wall-paintings provide an extraordinarily vivid picture of life as it was lived in Egypt thousands of years ago. And yet, looking at them for the first time, one may find them rather bewildering. The reason is that the Egyptian painters had a very different way from ours of representing real life. Perhaps this is connected with the different purpose their paintings had to serve. What mattered most was not prettiness but completeness. It was the artists’ task to preserve everything as clearly and permanently as possible. So they did not set out to sketch nature as it appeared to them from any fortuitous angle” (p. 60). It is the occasional insight like this that makes the book most worthwhile for a neophyte. After all, how many of us have measured something we saw by the standards of our particular narrow time and place? He really drives home the point that thinking about art seriously means thinking about other perspectives (both literally and figuratively), other preoccupations, and other aesthetic modus operandi. This is a lesson that should be lost on none of us, about art, or about anything else. [show less]() This has sat around for over a year looking daunting on the shelf. It's size implying weeks of effort. I needn't have worried. This is Gombrich: erudite, approachable and informative and oh so readable. He's the stereotype of the kindly and informed grandpa. I was sad that he didn't mirror the visual arts with snippets of the aural, but that's being sad about something that the book isn't. Instead, I got a whistlestop tour of a few thousand years of architecture that I've already mostly forgot. It does feel though that, like \[Little History of the World\] that the chapters are short and contained enough, that I'll read a snippet for a refresher for the rest of my life. É de índole conservadora, publicado pela primeira vez em 1950 e basicamente destinado a quem tenha pouco contato formal anterior com a história da arte. O gosto de Gombrich não se desvia do padrão, com um enfoque maior em arte medieval e especialmente Renascença. O que o torna especial, pois? O autor prova que levar a arte a sério significa pensar noutras perspectivas - reais e virtuais, noutros estilos, noutras preocupações e noutro eventual modus operandi estético. Eis uma mensagem a ter-se em conta. \½ Sir Ernst Gombrich's classic narrative study of art history, first published in 1950. Among the many competing introductory texts the central monuments of which are H.W. Janson's History of Art and Helen Gardner's Art Through the Ages, Gombrich's venerable work has inhabited a unique niche, having been created specifically for newcomers to art. As his title indicates, he presents the whole of art history as a chronological narrative. Gombrich's voice is lively, opinionated, and almost conversational, yet his erudition shines through to make a book that is both accessible and informative. His premise, that the love of art, not the love of history, is the appropriate basis for its study is communicated directly with his irrepressible [show more]()enthusiasm for certain masters and his passionate exasperation with 20th century nonobjective artists. This book belongs on every art-lover's bedside table. Gombrich's The Story of Art has been a treasured standard in the field, selling more than 4 million copies since its first edition in 1950. This is a comprehensive look at Western art from prehistoric times on up to the present. Gombrich is more than an authority, he's an advocate, and his love and deep respect for art infuse his invigorating text. In his discussion of twentieth-century art, for instance, Gombrich explains how even the most experimental contemporary art is connected in some way to what has gone before. Gombrich tells the story of art "as the story of a continuous weaving and changing of traditions in which each work refers to the past and points to the future." Gombrich's invaluable history is a veritable celebration of this "living chain." [show less]() 3 Recently Added By [![](https://images-na.ssl-images-amazon.com/images/P/0140150080.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/43881/) [![](https://images-na.ssl-images-amazon.com/images/P/0393317552.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/29/) [![](https://images-na.ssl-images-amazon.com/images/P/0375842209.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/305/) [![](https://images-na.ssl-images-amazon.com/images/P/0142437204.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/907/) [![](https://images-na.ssl-images-amazon.com/images/P/0714832472.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/11975/) [![](https://images-na.ssl-images-amazon.com/images/P/0393317552.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/6948/) [![](https://pics.cdn.librarything.com/picsizes/00/01/1-c-h100-w50-pv25_597745414141417941475141_v5.png)](https://www.librarything.com/list/43867/) [![](https://images-na.ssl-images-amazon.com/images/P/0307744434.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/11/) [![](https://images-na.ssl-images-amazon.com/images/P/0307700763.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/47347/) [![](https://images-na.ssl-images-amazon.com/images/P/0140135154.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/45533/) [![](https://pics.cdn.librarything.com/picsizes/00/01/1-c-h100-w50-pv25_597745414141417941475141_v5.png)](https://www.librarything.com/list/44485/) [![](https://images-na.ssl-images-amazon.com/images/P/0812921178.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/44452/) [![](https://images-na.ssl-images-amazon.com/images/P/0441478123.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/17355/) [![](https://images-na.ssl-images-amazon.com/images/P/0385474547.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/43519/) [![](https://images-na.ssl-images-amazon.com/images/P/0679755330.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/42566/) [![](https://images-na.ssl-images-amazon.com/images/P/0439023521.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/76/) [![](https://images-na.ssl-images-amazon.com/images/P/1400078776.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/10326/) [![](https://images-na.ssl-images-amazon.com/images/P/0689707495.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/1079/) [![](https://images-na.ssl-images-amazon.com/images/P/0500284652.01._SX50_SY100_SCLZZZZZZZ_.jpg)](https://www.librarything.com/list/47583/) [![Picture of author.](https://pics.cdn.librarything.com//picsizes/24/39/243957-x-h100-w100-pv25_655057344177426b41475141_v5.jpg)](https://www.librarything.com/author/gombricheh) 107+ Works 12,887 Members Ernst Hans Josef Gombrich, born March 30, 1909, in Vienna, Austria, was educated at Vienna University where he earned a Ph.D. His career includes terms as Slade Professor of Fine Arts at Oxford and Cambridge universities and as Andrew D. White Professor-at-large at Cornell University. Gombrich's books on art and art history have sold as well as [show more]() some works of fiction. One of his most popular titles is The Story of Art, which has been translated into 18 languages and sold more than two million copies. Other titles are; Looking for Answers: Conversations on Art and Science (with Didier Eribon), Shadows: The Depiction of Cast Shadows in Western Art, and Gombrich on Art and Psychology. His numerous awards include the Erasmus Prize in 1975, the Hegel Prize in 1976, and the International Balzan Prize in 1985. He holds honorary degrees from various universities, among them Oxford, Cambridge, and Harvard, and from the Royal College of Art (London), 1981. (Bowker Author Biography) [show less]() ### Belongs to Publisher Series Canonical title The Story of Art Original title The Story of Art Original publication date 1950 Epigraph \[None\] Dedication \[None\] First words This book is intended for all who feel in need of some first orientation in a strange and fascinating field. Preface \[first ed., 1950\]. * This book was planned from the outset to tell the story of art in both words and pictures by enabling readers as far as possible to have the illustration discussed in the text in front of them, without having to turn the page... ([show all](https://www.librarything.com/work/12957)) . Preface to the twelfth edition, November 1971. * There are many more illustrations in colour in this than in the twelfth edition, but the text (except for the bibliography) remains unchanged. Preface to the thirteenth edition, July 1977. * 'Books have a life of their own.' The Roman poet who made this remark could not have imagined that his lines would be copied out of hand for many centuries and would be available on the shelves of our libraries some two thous... ([show all](https://www.librarything.com/work/12957)) and years later. Preface to the fourteenth edition, March 1984. * Pessimists sometimes tell us that in this age of television and videos people have lost the habit of reading and that students, in particular, tend to lack the patience to derive pleasure from reading any book from cover to c... ([show all](https://www.librarything.com/work/12957)) over. Preface to the fifteenth edition, March 1989. * As I sit down to add the preface to this latest edition I am filled with amazement and gratitude. Preface to the sixteenth edition, December 1994. * There really is no such thing as Art. There are only artists. Introduction : On art and artists. * We do not know how art began any more than we know how language started. 1\. Strange beginnings : Prehistoric and primitive peoples ; Ancient America*. Quotations\ No existe, realmente, el Arte. Tan sólo hay artistas. Last words ([Click to show. Warning: May contain spoilers.](https://www.librarything.com/work/12957)) It is we who must see to it that the thread of tradition does not break and that there remain opportunities for the artist to add to the precious string of pearls that is our heirloom from the past. * ([Click to show. Warning: May contain spoilers.](https://www.librarything.com/work/12957)) But is not this constant need for revision one of the thrills of the study of the past? (Sixteenth ed., 1995)*. Original language English \Some information comes from Common Knowledge in other languages. Click "Edit" for more information. Genres [Art & Design](https://www.librarything.com/genre/30/Art-Design), [History](https://www.librarything.com/genre/9/History), [Nonfiction](https://www.librarything.com/genre/62/Nonfiction), [General Nonfiction](https://www.librarything.com/genre/20/General-Nonfiction) DDC/MDS [709](https://www.librarything.com/mds/709) — [Arts & recreation](https://www.librarything.com/mds/7XX) [Arts](https://www.librarything.com/mds/70X) [History, geographic treatment, biography](https://www.librarything.com/mds/709) LCC [N5300 .G643](https://www.librarything.com/lcc/N5300) — [Fine Arts](https://www.librarything.com/lcc/N) [Visual arts](https://www.librarything.com/lcc/N1-9211) [History](https://www.librarything.com/lcc/N5300-7418) BISAC Members 5,392 Popularity 2,427 Reviews 46 Rating \½ (4.31) Languages 23 — Bulgarian, Catalan, Chinese, Czech, Danish, Dutch, English, Estonian, Finnish, French, German, Hebrew, Hungarian, Italian, Latvian, Lithuanian, Norwegian (Bokmål), Polish, Portuguese, Russian, Spanish, Swedish, Turkish Media Paper, Ebook ISBNs 129 UPCs 1 ASINs 62
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