By E. H. Gombrich
Tres enfoques distintos confluyen en este libro: historia y psicología del arte (Sir Ernst Gombrich), psicología (Julian Hochberg) y filosofía (Max Black). Estos tres distinguidos autores examinan en los tres ensayos recogidos en este volumen el problema de las percepciones de las imágenes y, en specific, de l. a. pintura y los angeles fotografía. Tal confrontación de rules es ciertamente inédita en los angeles bibliografía en lengua castellana sobre los angeles imagen. Fundándose en experiencias sustancialmente diferentes, los tres ensayos solicitan los angeles reflexión y los angeles profundización de temas ya de por sí sugerentes: el tiempo, los angeles verosimilitud, los angeles escena espacial y otros conceptos, como los de empatía, capacidad de información de l. a. imagen y niveles de atención. De un modo specific, el intercambio de opiniones entre Gombrich y Hochberg abre un debate rico en consecuencias de permanente interés entre especialistas. Al mismo tiempo, las constantes referencias al plano cognitivo de los angeles imagen abren nuevas posibilidades para los angeles investigación de l. a. imagen a partir de los angeles pragmática moderna.
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Extra info for Arte, percepción y realidad
COLLECTION OF NICK RHODES 34 After completing a campaign for the cosmetics company Rochas and a cover story with Nina Hagen for German Vogue, Viramontes left Paris and returned to his family home in Los Angeles, where he worked sporadically, creating the sleeve art for Janet Jackson’s groundbreaking album ‘Control’ and a few smaller projects with Sly Fox, The Motels and Donna Summer. His condition had rendered him unreliable for extended periods and gradually his work appeared with increasing irregularity.
While the drawings push the edge of sex and sexuality they remain very much about elegance and sophistication. ‘There was one drawing that I adored,’ recalls Lisabeth Garber. ’ The sessions took place in Rome at the luxurious Hotel de la Ville where Viramontes managed to run up a room-service bill for almost double the fee he received for creating drawings. ‘He was being an absolute brat,’ laughs Garber, ‘having people run all over the place for every little thing he asked for, but it was very relaxed.
His aim was to make people understand that what they can see now they will understand later. For a lot of people it was to be the ﬁrst and last time. But for others such as Claude Montana and Hanae Mori, who gave him incredible freedom, he produced some of his most memorable work. Tony’s relationship with the imperialistic Mori was ‘the absolute perfect marriage’, remembers Bob Recine. ‘She treated him like a son, and gave him the freedom to say what he wanted to say. There were no guidelines; she saw the immense talent that he had as an illustrator and harnessed it.
Arte, percepción y realidad by E. H. Gombrich