Art, Mind, and Brain: A Cognitive Approach to Creativity

By Howard Gardner | Go to book overview

7
ERNST GOMBRICH: WHY ART HAS A HISTORY

A TOUR through any major museum or any text on the history of art reveals an extraordinary progression in graphic art over the past three millennia. When we observe flattened "paper cutout" Egyptian wall painting (see figure 7.1) or the stilted, wooden madonna and child of the medieval master Cimabue (figure 7.2), we confront artwork that strikes us as being schematic and unrealistic. Then, with the arrival of the Renaissance, we encounter a clear contrast, one exemplified by Giotto's madonna (figure 7.3). A march had begun toward increasing realism, a march that continued from the fifteenth to the nineteenth century. By the time the English artist John Constable painted "Wivenhoe Park" in the early nineteenth century (figure 7.4), audiences had begun to encounter landscapes and scenes that rivaled photographs in their degree of depicted realism.

This trend reached its apogee with the arrival of impressionism, that still-treasured style of painting which attempts to capture light, color, texture, and other surface appearances at a specific moment in time. But impressionism also signaled the denouement of the march toward realism, for in the subsequent postimpressionist, cubist, and expressionist periods there was the rapid and near total collapse of any effort at depicting the world as it appears to the naked eye. And with the abstract expressionism of the forties and fifties, the breakdown was

-65-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
Art, Mind, and Brain: A Cognitive Approach to Creativity
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 380

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.