Ernst Gombrich interview on "The Story of Art" (1995)

Summary

In this engaging conversation, renowned art historian Ernst Gombrich discusses the origins and impact of his groundbreaking book, *The Story of Art*. First published in 1950, the book offers a coherent narrative of art history, exploring its development through the ages. Gombrich reflects on his personal journey, from his upbringing in Vienna to his work with the BBC during WWII. He shares insights into the nature of art, the challenges of modern art, and his admiration for the skill of artists like Velázquez. Gombrich critiques the rise of self-expression in contemporary art while emphasizing the importance of understanding art’s historical context.

Takeaways

• 😀 The Story of Art by Ernst Gombrich is now in its 16th edition and is the world’s best-selling art book, translated into 24 languages.
• 😀 Gombrich initially resisted writing a history of art for children, but the book evolved into a comprehensive narrative about art's development.
• 😀 The book's success lies in its ability to present the history of art as a coherent story, not just a series of disconnected movements or styles.
• 😀 Gombrich views art history as a continuous chain of events, where the development of art is linked to human goals and achievements.
• 😀 Modern art, according to Gombrich, represents a break in the chain of traditional representation and grapples with the limitations of earlier artistic methods.
• 😀 He admires artists like Velázquez for their extraordinary skill in manipulating paint, creating masterpieces that seem miraculous in their execution.
• 😀 Gombrich is not particularly emotional about art, noting that while some paintings can provoke feelings, he has never cried in front of one.
• 😀 He is critical of the contemporary emphasis on self-expression in art, believing it lacks real guidance and is not necessarily aligned with true artistry.
• 😀 Gombrich's intellectual influences include the Vienna School of Art History, particularly his teachers Max Dvořák and Emanuel Löwy.
• 😀 Gombrich had personal interactions with famous figures like Oskar Kokoschka, although he prefers to view artists through the lens of their work rather than their lives.
• 😀 Despite his admiration for many artists, Gombrich does not have a single favorite artist, acknowledging the brilliance of various figures throughout art history.

Q & A

What was the original purpose of Gombrich's work that led to 'The Story of Art'?

Gombrich was initially commissioned to write a history of the world for children, which later evolved into the idea of writing a history of art. Although he originally doubted that art could be suitable for children, he agreed to write it as a history, not for children specifically, which eventually resulted in 'The Story of Art'.

Why does Gombrich consider 'The Story of Art' a 'story' rather than just a chronological history of art?

Gombrich refers to 'The Story of Art' as a story because it goes beyond just presenting events in a sequence. It emphasizes the development of image-making and the goals that artists pursued across time, showing a coherent narrative where each artistic achievement builds upon the past.

How does Gombrich describe the conflict between two methods of representing the world in art?

Gombrich describes the conflict as the tension between representing what one knows (conceptual knowledge) and representing what one actually sees (visual perception). He sees this conflict as central to the evolution of art, especially with movements like Impressionism, which emphasized seeing the world as it truly appears.

What impact did Impressionism have on the development of art, according to Gombrich?

Impressionism marked a significant shift by focusing on capturing what artists actually saw, rather than relying on pre-existing conceptual knowledge. This approach, however, was too simplistic for Gombrich, as it overlooked the complex relationship between what we know and what we see.

Why does Gombrich not consider himself a collector of art, and how does he view art ownership?

Gombrich does not consider himself a collector because he has no possessive instincts. He enjoys experiencing great works of art in museums, where they are accessible to the public, and he doesn’t feel the need to own them to appreciate them.

What role did Gombrich’s upbringing in Vienna play in shaping his career?

Gombrich's upbringing in Vienna, a city known for its rich cultural heritage, played a significant role in shaping his intellectual development. His exposure to music and the academic atmosphere at the University of Vienna, along with his encounters with key figures in the field of art history, influenced his eventual career as an art historian.

How did Gombrich spend his time during World War II?

During World War II, Gombrich worked at a British listening post for the BBC, where he translated German propaganda broadcasts into English. This work, though not thrilling, allowed him to gain proficiency in the English language.

What concerns does Gombrich have about the influence of modern theories on art?

Gombrich is alarmed by the influence of theories like the cult of self-expression in modern art, as he believes they are too vague to offer meaningful guidance for artists. He feels that self-expression, by definition, is something everyone does but does not necessarily equate to artistic achievement.

How does Gombrich view the connection between an artist's life and their work?

Gombrich does not focus heavily on the connection between an artist’s life and their art, unless the life provides significant context for understanding the work. However, he acknowledges that certain artists, like Vincent van Gogh, have compelling life stories that can add depth to our understanding of their art.

What is Gombrich’s favorite museum, and why does he prefer smaller museums?

Gombrich’s favorite museums are smaller, more intimate spaces like the Frick Collection in New York and the Mauritshuis in The Hague. He prefers these smaller museums because they offer a more personal and manageable experience, without the overwhelming crowds and expansive size of larger institutions.