The Story of Art

Knowledge Graph: The Story of Art (E. H. Gombrich, 1950)

Editorial spotlight: ↑ schema, match, correct, pass on

Concepts

• Gombrich's schema-correction cycle (importance 5): Artists work from inherited schemas (conventions), test them against nature, correct mismatches, and pass the refined schema to the next generation. The recursive engine of artistic progress.. Source: (from training memory of book).
• making and matching (importance 5): Art is not copying nature but making conventional forms and then matching them against observation. No innocent eye exists; all seeing is theory-laden.. Source: (from training memory of book).
• Cézanne's constructive stroke (importance 5): Each brushstroke a building block. Multiple viewpoints combined. Schema that doesn't copy appearance but constructs pictorial architecture.. Source: (from training memory of book).
• tradition as enabling constraint (importance 4): Artists innovate by pushing against inherited conventions, not by inventing ex nihilo. Freedom comes through mastery of tradition.. Source: (from training memory of book).
• problem-sequences in art (importance 4): Certain representational challenges (foreshortening, light, motion) get solved cumulatively. Not progress in value but in technique.. Source: (from training memory of book).
• problem-space inheritance (importance 4): Each artist inherits a set of unsolved technical challenges from predecessors. Innovation is problem-driven.. Source: (from training memory of book).
• Gombrich's anti-Hegelian history (importance 4): No world-spirit driving art forward. Only artists solving local problems with available tools. History is contingent, not teleological.. Source: (from training memory of book).
• beholder's share (importance 4): Viewer completes the image through perceptual projection. Art works by triggering viewer's schema, not by transmitting complete information.. Source: (from training memory of book).
• Michelangelo's terribilità (importance 3): Awe-inspiring grandeur and power. Figures twist beyond natural anatomy to express inner force. Schema serves expression over optical truth.. Source: (from training memory of book).
• Venetian primacy of color (importance 3): Titian, Giorgione prioritize color and tone over Florentine line. Northern oil technique meets Mediterranean light.. Source: (from training memory of book).
• memory-image vs appearance (importance 3): Egyptian art depicts what is known to exist, not what is seen from one viewpoint. Conceptual not perceptual.. Source: (from training memory of book).
• Baroque dynamic composition (importance 3): Rubens, Bernini: diagonal thrusts, spiraling forms, implied motion. Schema for dramatic energy.. Source: (from training memory of book).
• Duchamp's readymade (importance 3): Fountain 1917: unmodified urinal designated as art. Schema abandoned entirely; art becomes conceptual act.. Source: (from training memory of book).
• function shapes artistic form (importance 3): Egyptian tomb art, Byzantine icons, Renaissance altarpieces: social function determines formal choices.. Source: (from training memory of book).
• photography as challenge (importance 3): 1839 daguerreotype: mechanical image-making. Painting must justify itself anew, leading to Impressionism and beyond.. Source: (from training memory of book).
• optical vs conceptual modes (importance 3): Tension between depicting what is seen (retinal image) versus what is known (mental model). All art negotiates this.. Source: (from training memory of book).
• avant-garde as perpetual revolution (importance 3): Each generation must reject predecessor's schema. Innovation becomes compulsory, not occasional.. Source: (from training memory of book).
• perceptual psychology foundation (importance 3): Gombrich draws on Gestalt psychology, Popper's epistemology. Seeing is hypothesis-testing, not passive reception.. Source: (from training memory of book).
• Hellenistic emotional expression (importance 2): Laocoön and sons: schema extended to depict psychological suffering, not just physical form.. Source: (from training memory of book).
• medieval size-by-importance (importance 2): Figures scaled by spiritual rank, not optical distance. Schema encodes theological hierarchy.. Source: (from training memory of book).
• Mannerist elongation (importance 2): Parmigianino, El Greco: figures stretched beyond natural proportions. Schema bent toward elegance or ecstasy.. Source: (from training memory of book).
• Reynolds's Grand Manner (importance 2): Elevate portraiture by quoting classical poses and compositions. Schema combining portraiture with history painting.. Source: (from training memory of book).
• Delacroix's expressive color (importance 2): Romantic prioritization of color over line. Schema for emotional intensity through chromatic intensity.. Source: (from training memory of book).
• Degas's photographic cropping (importance 2): Off-center compositions, cut-off figures. Schema influenced by camera's arbitrary framing.. Source: (from training memory of book).
• patronage as constraint (importance 2): Medici commissions, Church demands, court expectations: artists innovate within external requirements.. Source: (from training memory of book).
• Salon des Refusés (importance 2): 1863 exhibition of rejected works. Institutional schema challenged, alternative validation emerges.. Source: (from training memory of book).
• Japonisme (importance 2): Japanese prints influence Impressionists and Post-Impressionists. Flat color, bold outlines, asymmetric composition.. Source: (from training memory of book).
• art as techne (skill) (importance 2): Pre-modern conception: art is craft, learned technique. Genius concept is later invention.. Source: (from training memory of book).
• Renaissance artist as individual (importance 2): Shift from anonymous craftsman to named genius. Vasari's Lives: artists as heroes of cultural progress.. Source: (from training memory of book).
• Romantic genius myth (importance 2): Artist as solitary visionary, creating from inner necessity. Schema-correction cycle becomes individual expression narrative.. Source: (from training memory of book).
• style as personal signature (importance 2): Modern expectation: each artist develops unique visual language. Medieval concept of style as period/regional was impersonal.. Source: (from training memory of book).
• caricature as schema exaggeration (importance 2): Caricature works by amplifying distinctive features. Proves recognition depends on schematic difference, not absolute accuracy.. Source: (from training memory of book).
• cartoon as minimal schema (importance 2): Few lines can trigger recognition. Shows schema can be extremely economical and still effective.. Source: (from training memory of book).
• color constancy problem (importance 2): Objects appear constant color despite changing illumination. Painters must choose: local color or retinal color?. Source: (from training memory of book).
• cast shadow as cue (importance 1): Shadows are perceptual cues for depth and light direction. Artists learn to deploy them schematically.. Source: (from training memory of book).
• texture gradient as depth cue (importance 1): Receding surfaces show increasing density of texture. Schema for depicting spatial recession.. Source: (from training memory of book).
• figure-ground relation (importance 1): Gestalt principle: forms emerge through contrast with background. Compositional schema organizes this.. Source: (from training memory of book).

Claims

• art history as problem-solving (importance 5): Each generation inherits representational problems left unsolved by predecessors. Progress is not mere change but cumulative refinement.. Source: (from training memory of book).
• perception shaped by schema (importance 5): We don't see reality directly, then choose how to depict it. We see through inherited visual categories. Schema precedes matching.. Source: (from training memory of book).
• no innocent eye (importance 4): There is no such thing as pure seeing without preconceptions. Every artist sees through the lens of what they've learned to look for.. Source: (from training memory of book).
• Cézanne's productive doubt (importance 4): Every painting a fresh struggle to reconcile eye and mind. Refuses to automate schema, keeps perception uncertain.. Source: (from training memory of book).
• art history not linear progress (importance 4): Later art is not better art, but different solutions to different problems. Egyptian and Rembrandt equally valid schemas.. Source: (from training memory of book).
• art as conventional language (importance 4): Like written language, visual representation is learned system of marks. No natural resemblance, only conventional correspondence.. Source: (from training memory of book).
• Courbet's unidealized subjects (importance 3): Stone Breakers 1849: laborers painted at scale of history painting. Schema rejects academic hierarchy of subjects.. Source: (from training memory of book).
• taste is historically contingent (importance 3): What counts as good art changes radically across periods. No universal standard beyond problem-solving success.. Source: (from training memory of book).
• medium shapes possibility (importance 3): Fresco, oil, tempera, watercolor each enable and constrain. Technical properties determine what schemas are feasible.. Source: (from training memory of book).
• resemblance is learned recognition (importance 3): Pictures don't resemble objects naturally. We learn to see the match. Egyptian profile didn't look wrong to Egyptians.. Source: (from training memory of book).
• modernist originality imperative (importance 3): Post-1800: artists must innovate to be valued. Earlier periods valued perfection of inherited schema.. Source: (from training memory of book).
• 20th century crisis of representation (importance 3): After photography, after abstraction: what is painting for? The schema-correction cycle reaches self-consciousness.. Source: (from training memory of book).
• productive ambiguity (importance 3): Great art often leaves interpretive gaps. Exact specification can deaden; suggestion activates imagination.. Source: (from training memory of book).
• Vermeer's possible camera obscura (importance 2): Optical effects in paintings suggest use of lens-based device. Schema informed by mechanical seeing.. Source: (from training memory of book).
• museum changes meaning (importance 2): Altarpiece in museum becomes art object, not devotional instrument. Context shift changes perceptual schema.. Source: (from training memory of book).
• art in cultures without 'art' concept (importance 2): Many traditions have no separate category for art. Image-making serves magic, religion, power — not aesthetic contemplation.. Source: (from training memory of book).
• illusion has perceptual limits (importance 2): Trompe-l'oeil can fool briefly but not sustain. Perfect illusion is impossible and undesirable.. Source: (from training memory of book).

Empirical results

• Greek discovery of foreshortening (importance 4): 5th century BCE Greek vase painters begin showing figures in three-quarter view, overlapping limbs, spatial depth. Schema corrected toward optical truth.. Source: (from training memory of book).
• Giotto's solid bodies (importance 4): c.1305 Giotto paints figures with mass and weight, breaking from Byzantine flat gold schemas. A founding move of Western spatial illusion.. Source: (from training memory of book).
• Rembrandt's inner light (importance 4): Light seems to glow from within figures. Chiaroscuro refined to express psychological depth, not just form.. Source: (from training memory of book).
• Kandinsky's pure abstraction (importance 4): 1910s paintings with no representational content. Schema detached from external reference, operating on internal necessity alone.. Source: (from training memory of book).
• Greek mimetic revolution (importance 4): 5th century BCE: shift from conceptual to optical depiction. First sustained attempt to match visual appearance systematically.. Source: (from training memory of book).
• Renaissance as schema break (importance 4): 1300-1500: rediscovery and extension of Greek naturalism. A thousand-year schema (medieval) replaced.. Source: (from training memory of book).
• modernist schema plurality (importance 4): Post-1900: no single dominant schema. Multiple competing systems coexist. Schema-correction cycle accelerates, fragments.. Source: (from training memory of book).
• Masaccio's Trinity perspective (importance 3): 1427 fresco demonstrates Brunelleschi's system in paint. Architectural space recedes with mathematical correctness.. Source: (from training memory of book).
• Raphael's synthesis (importance 3): Combines Leonardo's softness with Michelangelo's monumentality and classical harmony. The Renaissance schema brought to balance.. Source: (from training memory of book).
• Turner's dissolution of form (importance 3): Late works reduce landscape to light, color, and atmosphere. Objects dissolve into visual sensation.. Source: (from training memory of book).
• Greek naturalism (importance 3): 5th-4th century BCE sculpture captures human anatomy in motion. Schema refined through empirical observation of the body.. Source: (from training memory of book).
• Manet's flattened space (importance 3): Olympia 1863: minimal modeling, confrontational gaze, shallow space. Schema questions illusionism itself.. Source: (from training memory of book).
• van Gogh's expressive stroke (importance 3): Thick impasto, swirling marks record emotional intensity. Schema where paint gesture equals psychological state.. Source: (from training memory of book).
• Matisse's color as structure (importance 3): Fauve period: color no longer describes objects but builds pictorial architecture. Schema where hue relations replace tonal modeling.. Source: (from training memory of book).
• Mondrian's neo-plastic grid (importance 3): 1920s: black lines, primary colors, white fields. Schema reduced to universal pictorial elements.. Source: (from training memory of book).
• Rothko's color fields (importance 3): Stacked rectangles of luminous color. Schema for contemplative immersion, not depiction.. Source: (from training memory of book).
• African art influence (importance 3): Early 1900s Paris: African masks provide alternative schemas, enabling Cubist breakthrough.. Source: (from training memory of book).
• art as idea not object (importance 3): Duchamp onward: art resides in conceptual gesture, not skilled making. Schema becomes immaterial.. Source: (from training memory of book).
• Roman veristic portraiture (importance 2): Unflattering realism in busts. Schema serves identity documentation, not idealization.. Source: (from training memory of book).
• Gothic stained glass (importance 2): Chartres cathedral: colored light fills space. Schema for depicting divine radiance.. Source: (from training memory of book).
• David's revolutionary Neoclassicism (importance 2): Oath of the Horatii 1784: Roman virtue, clear light, frieze-like composition. Schema for civic virtue.. Source: (from training memory of book).
• Dalí's academic precision (importance 2): Surreal content rendered in meticulous old-master technique. Schema of illusionism serving dream logic.. Source: (from training memory of book).

Methods

• Brunelleschi's linear perspective (importance 5): c.1413 Brunelleschi constructs geometrically exact perspective. A schema refined to mathematical precision, matching visual experience systematically.. Source: (from training memory of book).
• Egyptian profile-frontal schema (importance 4): Combine profile head with frontal shoulders and profile legs. Not copying appearance but assembling knowledge of canonical forms. A 3000-year stable schema.. Source: (from training memory of book).
• Leonardo's sfumato (importance 4): Soft blurred edges, atmospheric perspective, modeling without hard outlines. Schema for depicting light and air, not just solid form.. Source: (from training memory of book).
• Caravaggio's tenebrism (importance 4): Dramatic spotlight illumination, deep shadows, figures emerge from darkness. Schema for theatrical religious intensity.. Source: (from training memory of book).
• Impressionist color division (importance 4): Monet, Renoir: pure color strokes placed side-by-side, mixing optically not on palette. Schema for capturing fleeting light.. Source: (from training memory of book).
• Cubist simultaneity (importance 4): Picasso, Braque show object from multiple angles at once. Schema abandons single viewpoint entirely.. Source: (from training memory of book).
• Velázquez's broken brushwork (importance 3): Las Meninas: strokes that resolve into forms only from distance. Schema for depicting light itself, not just illuminated objects.. Source: (from training memory of book).
• Constable's outdoor sketching (importance 3): Painting directly from nature, recording transient atmospheric effects. Schema corrected by immediate observation.. Source: (from training memory of book).
• Byzantine gold background (importance 3): Flat gold fields reject spatial illusion. Schema for depicting sacred timeless realm, not earthly space.. Source: (from training memory of book).
• van Eyck's microscopic realism (importance 3): Arnolfini Portrait 1434: oil technique enables rendering of textures, reflections, minute details. Northern precision schema.. Source: (from training memory of book).
• Monet's series method (importance 3): Haystacks, Rouen Cathedral painted at different times of day. Schema isolates light as subject.. Source: (from training memory of book).
• Seurat's pointillism (importance 3): Systematic dots of pure color. Schema based on optical color theory, pursued to systematic extreme.. Source: (from training memory of book).
• Analytical Cubism (importance 3): 1910-12 phase: objects fractured into faceted planes, monochrome palette. Schema dissects form into geometric analysis.. Source: (from training memory of book).
• Pollock's drip technique (importance 3): 1947-50: paint poured and flung onto canvas on floor. Schema of gestural process, no preliminary drawing.. Source: (from training memory of book).
• Dürer's proportional studies (importance 2): Northern artist studies Italian theory. Attempts to systematize human proportions geometrically.. Source: (from training memory of book).
• Poussin's classical order (importance 2): French rational clarity opposing Baroque drama. Figures arranged in horizontal planes, measured gestures.. Source: (from training memory of book).
• Hogarth's moral narratives (importance 2): Sequential paintings telling cautionary tales. Schema borrowed from theater and literature.. Source: (from training memory of book).
• Gainsborough's fluid brushwork (importance 2): Visible, loose strokes anticipating Impressionism. Schema prioritizing paint quality over finish.. Source: (from training memory of book).
• Ingres's linear purity (importance 2): Continuous flowing contours, minimal modeling. Classical schema refined to abstract elegance.. Source: (from training memory of book).
• Gauguin's synthetism (importance 2): Flat areas of unmixed color, simplified forms. Schema rejects optical naturalism for symbolic composition.. Source: (from training memory of book).
• Synthetic Cubism (importance 2): Post-1912: collage, papier collé, brighter color. Schema builds pictures from invented signs rather than analyzing perceived objects.. Source: (from training memory of book).
• Klee's pictorial notation (importance 2): Signs that hover between representation and abstract mark. Schema as visual language independent of depicted world.. Source: (from training memory of book).
• Surrealist automatism (importance 2): Bypass conscious control to access unconscious. Schema generated by psychic rather than perceptual process.. Source: (from training memory of book).
• atmospheric perspective (importance 2): Distant objects appear bluer and less distinct. Leonardo codified this schema for depicting depth through air.. Source: (from training memory of book).
• chiaroscuro modeling (importance 2): Light-to-dark gradation suggests three-dimensional form. Leonardo's sfumato is refined chiaroscuro.. Source: (from training memory of book).
• contour as schematic boundary (importance 2): Outlines don't exist in nature but are conventional device. Necessary for schema construction.. Source: (from training memory of book).
• overlapping as depth cue (importance 1): Occluding contour signals spatial layering. Even flat Egyptian art uses this minimally.. Source: (from training memory of book).
• size diminution (importance 1): Farther objects depicted smaller. Codified in perspective but used intuitively earlier.. Source: (from training memory of book).

Entities

• Picasso's Demoiselles d'Avignon (importance 4): 1907. African masks meet fractured space. The schema exploded, recombined into Cubism.. Source: (from training memory of book).
• Paleolithic cave art (importance 3): Altamira, Lascaux c.15,000 BCE. First known attempts to capture animal forms. The schema-cycle begins.. Source: (from training memory of book).
• Goya's Disasters of War (importance 3): 1810-20 etchings. Unflinching depiction of atrocity. Schema for witnessing horror without heroism.. Source: (from training memory of book).
• Duccio's Maestà (importance 2): 1308-11. Byzantine schema beginning to incorporate spatial depth and human gesture. Transitional work.. Source: (from training memory of book).
• Jan van Eyck (importance 2): Flemish master c.1390-1441. Perfected oil painting technique, enabling new levels of detail and luminosity.. Source: (from training memory of book).
• Holbein's Ambassadors (importance 2): 1533. Anamorphic skull, symbolic objects. Schema for depicting status and mortality.. Source: (from training memory of book).
• Watteau's fête galante (importance 2): 1710s paintings of aristocratic leisure in Arcadian settings. Rococo schema for idealized courtly life.. Source: (from training memory of book).
• Renaissance workshop system (importance 2): Master and apprentices collaborate. Schema transmission happens through direct imitation and correction.. Source: (from training memory of book).
• academic hierarchy of genres (importance 2): History painting highest, still life lowest. Institutional schema ranking subjects by intellectual dignity.. Source: (from training memory of book).

Relations

• Gombrich's schema-correction cycle requires making and matching
• making and matching supports no innocent eye
• Gombrich's schema-correction cycle enables art history as problem-solving
• Paleolithic cave art exemplifies Gombrich's schema-correction cycle
• Egyptian profile-frontal schema exemplifies memory-image vs appearance
• memory-image vs appearance exemplifies optical vs conceptual modes
• Greek discovery of foreshortening evidences Greek naturalism
• Greek naturalism exemplifies Greek mimetic revolution
• Greek mimetic revolution succeeds Egyptian profile-frontal schema
• Hellenistic emotional expression builds-on Greek naturalism
• Roman veristic portraiture builds-on Greek naturalism
• Byzantine gold background builds-on memory-image vs appearance
• medieval size-by-importance builds-on memory-image vs appearance
• Gothic stained glass builds-on Byzantine gold background
• Duccio's Maestà succeeds Byzantine gold background
• Duccio's Maestà precedes Giotto's solid bodies
• Giotto's solid bodies evidences Renaissance as schema break
• Brunelleschi's linear perspective enables Masaccio's Trinity perspective
• Masaccio's Trinity perspective exemplifies Brunelleschi's linear perspective
• Leonardo's sfumato builds-on chiaroscuro modeling
• Leonardo's sfumato requires atmospheric perspective
• Michelangelo's terribilità builds-on Greek naturalism
• Raphael's synthesis builds-on Leonardo's sfumato
• Raphael's synthesis builds-on Michelangelo's terribilità
• Venetian primacy of color builds-on van Eyck's microscopic realism
• Caravaggio's tenebrism builds-on Leonardo's sfumato
• Rembrandt's inner light builds-on Caravaggio's tenebrism
• Velázquez's broken brushwork builds-on Venetian primacy of color
• Velázquez's broken brushwork precedes Impressionist color division
• van Eyck's microscopic realism exemplifies Jan van Eyck
• Dürer's proportional studies builds-on Brunelleschi's linear perspective
• Holbein's Ambassadors builds-on van Eyck's microscopic realism
• Mannerist elongation succeeds Raphael's synthesis
• Baroque dynamic composition succeeds Mannerist elongation
• Poussin's classical order contradicts Baroque dynamic composition
• Vermeer's possible camera obscura builds-on van Eyck's microscopic realism
• Watteau's fête galante succeeds Baroque dynamic composition
• Hogarth's moral narratives builds-on Baroque dynamic composition
• Reynolds's Grand Manner builds-on Poussin's classical order
• Gainsborough's fluid brushwork builds-on Velázquez's broken brushwork
• Goya's Disasters of War succeeds Baroque dynamic composition
• David's revolutionary Neoclassicism builds-on Poussin's classical order
• Ingres's linear purity builds-on David's revolutionary Neoclassicism
• Delacroix's expressive color contradicts Ingres's linear purity
• Delacroix's expressive color builds-on Venetian primacy of color
• Courbet's unidealized subjects contradicts academic hierarchy of genres
• Constable's outdoor sketching precedes Courbet's unidealized subjects
• Turner's dissolution of form builds-on Constable's outdoor sketching
• Impressionist color division builds-on Constable's outdoor sketching
• Impressionist color division builds-on Turner's dissolution of form
• Manet's flattened space exemplifies Salon des Refusés
• Monet's series method exemplifies Impressionist color division
• Degas's photographic cropping evidences photography as challenge
• Seurat's pointillism builds-on Impressionist color division
• van Gogh's expressive stroke builds-on Impressionist color division
• Gauguin's synthetism contradicts Impressionist color division
• Cézanne's constructive stroke succeeds Impressionist color division
• Cézanne's productive doubt supports Cézanne's constructive stroke
• Cézanne's constructive stroke precedes Cubist simultaneity
• Matisse's color as structure builds-on Gauguin's synthetism
• Picasso's Demoiselles d'Avignon evidences African art influence
• Picasso's Demoiselles d'Avignon builds-on Cézanne's constructive stroke
• Analytical Cubism succeeds Picasso's Demoiselles d'Avignon
• Synthetic Cubism succeeds Analytical Cubism
• Cubist simultaneity exemplifies Analytical Cubism
• Mondrian's neo-plastic grid builds-on Synthetic Cubism
• Klee's pictorial notation builds-on Synthetic Cubism
• Kandinsky's pure abstraction builds-on Matisse's color as structure
• Duchamp's readymade evidences art as idea not object
• Surrealist automatism builds-on Duchamp's readymade
• Dalí's academic precision contradicts Surrealist automatism
• Pollock's drip technique builds-on Surrealist automatism
• Rothko's color fields builds-on Kandinsky's pure abstraction
• modernist schema plurality evidences Kandinsky's pure abstraction
• modernist schema plurality evidences Duchamp's readymade
• art history not linear progress supports art history as problem-solving
• problem-sequences in art evidences art history as problem-solving
• taste is historically contingent supports art history not linear progress
• function shapes artistic form supports Egyptian profile-frontal schema
• function shapes artistic form supports Byzantine gold background
• patronage as constraint exemplifies tradition as enabling constraint
• medium shapes possibility supports making and matching
• Renaissance workshop system exemplifies Gombrich's schema-correction cycle
• academic hierarchy of genres exemplifies patronage as constraint
• Salon des Refusés contradicts academic hierarchy of genres
• museum changes meaning contradicts function shapes artistic form
• photography as challenge motivates Impressionist color division
• photography as challenge precedes 20th century crisis of representation
• African art influence motivates Cubist simultaneity
• Japonisme motivates Impressionist color division
• Japonisme motivates Gauguin's synthetism
• perception shaped by schema supports no innocent eye
• problem-space inheritance supports art history as problem-solving
• art as conventional language supports making and matching
• resemblance is learned recognition supports art as conventional language
• art in cultures without 'art' concept evidences function shapes artistic form
• Renaissance as schema break builds-on Greek mimetic revolution
• art as techne (skill) precedes Renaissance artist as individual
• Renaissance artist as individual precedes Romantic genius myth
• Romantic genius myth enables style as personal signature
• modernist originality imperative builds-on Romantic genius myth
• avant-garde as perpetual revolution builds-on modernist originality imperative
• avant-garde as perpetual revolution enables modernist schema plurality
• 20th century crisis of representation motivates Kandinsky's pure abstraction
• 20th century crisis of representation motivates Duchamp's readymade
• art as idea not object succeeds 20th century crisis of representation
• Gombrich's anti-Hegelian history supports art history not linear progress
• perceptual psychology foundation supports perception shaped by schema
• beholder's share supports making and matching
• productive ambiguity evidences beholder's share
• caricature as schema exaggeration evidences art as conventional language
• cartoon as minimal schema evidences art as conventional language
• cast shadow as cue enables chiaroscuro modeling
• color constancy problem motivates Impressionist color division
• texture gradient as depth cue builds-on size diminution
• atmospheric perspective enables Leonardo's sfumato
• overlapping as depth cue exemplifies Egyptian profile-frontal schema
• size diminution precedes Brunelleschi's linear perspective
• chiaroscuro modeling enables Caravaggio's tenebrism
• contour as schematic boundary exemplifies Ingres's linear purity
• figure-ground relation enables Matisse's color as structure
• Gombrich's schema-correction cycle requires tradition as enabling constraint
• illusion has perceptual limits supports making and matching

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