Chapter Ten: The Experiment of Caricature, Art and Illusion by E.H Gombrich

Chapter Ten: The Experiment of Caricature, Art and Illusion by E.H Gombrich

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Chapter Ten: The Experiment of Caricature, Art and Illusion by E.H Gombrich

In Chapter Ten the author expands upon how the conventions of the teachings of the academies transcribed into much more than that. This chapter tries to reveal the process or experimentation into the discoveries of expression that has helped transcend art through its fruition. There was now a movement that garnered further than that of Rembrandt, and John Constable, allowing budding artists to derive their perspective of expression away from nature. The development of “artificial perspective” creates a vast palette for the artist traditionally trained or more importantly those non-familiars with the traditional methods. Once we as the beholders of art or the historians look past Berkeley’s theory of vision and thus look past the fixation with space in perspective, we may allow ourselves the opportunity to examine the relevance of light and texture, even the physiognomic expression. The author recalls the Chinese formula; “Ideas present, brush may be spared performance.” (pg331) This is evident in the ideal, the less there is in the complexity or ambiguousness to confuse our visual recognition the greater the reception by the beholder.
The author mentions that Rembrandt himself had to experiment with all his knowledge and experience to learn how much he could exclude for the beholder to recognize and appreciate his expression of art. Gombrich explains that one of the effects within the criteria of perspective and appearance that has handed the artists of generations past and present problematic wows is that of physiognomic impression. An aspect of physiognomic impression that is illustrated for the reader’s context is the facial expression. The reader i...


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... was as Gombrich notes applauded for a retentive memory which permit the assignment of new physiognomies to materialize. Daumier brought the tradition of physiognomic experimentation past that of the realm of humor. Thanks to Daumier’s attribution toward the cessation between caricature and “great art” other greats such as Munch would have been unable to progress in his expression of physiognomies.
A conclusion to this chapter can be exclaimed by one of Picasso’s quotes, “I do not seek, I find” clarified by Gombrich, “creation itself is exploration.”(p356) The author writes “In turning away from the visible world, art may have really found an uncharted region which waits to be discovered …articulated, as music … discovered … articulated it through the universe of sound (p358). Art is an ongoing action of somebody who is tearing down or getting rid of sameness.

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