E.H.Gombrich의 ‘회화적 재현의 심리학’ : 을 중심으로

Abstract

At least since Plato the theory and practice of the visual arts have been founded, almost exclusively, upon the relationship between the real and its copy. This duality has shaped the writing of art history as a story of the "conquest of the real" from Vasari's(1511～1574) "Lives of the Artists" to E.H.Gombrich's(1909-2001) "Art and Illusion" and has helped define modern art movements, like abstraction, that consciously rejected iconic resemblance. The thesis of "Art and Illusion" by Gombrich, one of the great art historians in 20th century, is one of those that have been disputed in our days. For the mysterious way in which shapes and marks can be made to signify and suggest other things beyond themselves had intrigued him. It would be, also, a model of theories of art history. This paper is going to investigate the thesis critically. And I'll try to considerate the significance of Gombrich's thesis, and discuss the art psychological problems in it. Since appeared in 20century, Gombrich's thesis, "Illusionism", have been controverted. Gombrich emphasized, in his major work Art and Illusion, that "representation" did not mean a mimesis, but a imitation. Here, we can see that his approach to art lay in psycal perceptichologion, not aesthetical ; in art psychological problems, not art in itself. In this day, Gombrich's word, art is psychological perception to art. This paper will investigate the background and meaning of Gombrich's "Illusionism", by connecting with Rudolf Arnheim's psychology of art, and discuss how he take in and interpretate the development of representive art and advance the pluralistic theory of art.