Chapter 4. The Realm of Beauty
Greece and the Greek world, fourth century BC to first century AD
“The great awakening of art to freedom had taken place in the hundred years between, roughly, 520 and 420 BC. Towards the end of the fifth century, artists had become fully conscious of their power and mastery, and so had the public…People compared the merits of the various “schools” of art; that is to say, of the various methods, styles and traditions which distinguished the masters in different cities. There is no doubt that the comparison and competition between these schools stimulated the artist to ever greater efforts, and helped to create that variety which we admire in Greek art.” (page 81)
In this chapter, Gombrich explores the development of various styles of art in the Greek world due to the freedom each artist had. Technique and ideas merged to give the artist a free way to create whatever he came up with.
“This artist was proud of his immense power, as well he might be. And so, gradually, during the fourth century, the approach to art changed.” (page 82)
Another important series of events that influence art was the foundation of an empire by Alexander. This led to the spread of the Greek styles and inventions to the Oriental kingdoms.
“The fact is probably that by this time, the period of Hellenism, art had largely lost its old connection with magic and religion. Artists became interested in the problems of their craft for its own sake, and the problem of how to represent such a dramatic contest with all its movement, its expression and its tension, was just the type of task which would test an artist’s skill.” (page 88-89)
One of the greatest inventions during the Hellenistic period is the use of landscapes.
“For Greek art at the time of Pheidias or Praxiteles, man remained the main subject of the artist’s interest.” (page 90)
“Even here, knowledge of the characteristic outline of individual objects counts for as much as the actual impression received through the eye. We have long recognized that this quality is not a fault in works of art, to be regretted and looked down upon, but that it is possible to achieve artistic perfection within any style.” (page 91)
“The great awakening of art to freedom had taken place in the hundred years between, roughly, 520 and 420 BC. Towards the end of the fifth century, artists had become fully conscious of their power and mastery, and so had the public…People compared the merits of the various “schools” of art; that is to say, of the various methods, styles and traditions which distinguished the masters in different cities. There is no doubt that the comparison and competition between these schools stimulated the artist to ever greater efforts, and helped to create that variety which we admire in Greek art.” (page 81)
In this chapter, Gombrich explores the development of various styles of art in the Greek world due to the freedom each artist had. Technique and ideas merged to give the artist a free way to create whatever he came up with.
“This artist was proud of his immense power, as well he might be. And so, gradually, during the fourth century, the approach to art changed.” (page 82)
Another important series of events that influence art was the foundation of an empire by Alexander. This led to the spread of the Greek styles and inventions to the Oriental kingdoms.
“The fact is probably that by this time, the period of Hellenism, art had largely lost its old connection with magic and religion. Artists became interested in the problems of their craft for its own sake, and the problem of how to represent such a dramatic contest with all its movement, its expression and its tension, was just the type of task which would test an artist’s skill.” (page 88-89)
One of the greatest inventions during the Hellenistic period is the use of landscapes.
“For Greek art at the time of Pheidias or Praxiteles, man remained the main subject of the artist’s interest.” (page 90)
“Even here, knowledge of the characteristic outline of individual objects counts for as much as the actual impression received through the eye. We have long recognized that this quality is not a fault in works of art, to be regretted and looked down upon, but that it is possible to achieve artistic perfection within any style.” (page 91)
Chapter 5. World Conquerors
Romans, Buddhists, Jews and Christians, first to fourth century AD
“For art remained more or less unchanged while the Romans conquered the world and founded their own empire on the ruins of the Hellenistic kingdoms…Nevertheless art did change, to some extent, when Rome became mistress of the world. The artists were given new tasks and had to adapt their methods accordingly.” (page 93)
In this short chapter, we will see Gombrich approach to the Romans’ contributions to art, and how they returned to some extent to the styles of the Egyptians, especially in focusing only in the relevant parts and leaving the others out, and that this was taken by the Christian artists.
“It was typical of the Romans to take from Greek architecture what they liked, and to apply it to their own needs. They did the same in all fields. One of their principal needs was for good, lifelike portraits.” (page 94)
“Everything which was not strictly relevant was better left out. Once more ideas of clarity and simplicity began to overweight ideals of faithful imitation.” (page 99)
“And yet, to us, these figures seem to have a life of their own, and a very intense expression which is due to the firm marking of the features and the care bestowed on such traits as the part around the eyes and the furrows of the brow. They portray the people who witnessed, and finally accepted, the rise of Christianity, which meant the end of the ancient world.” (page 100)
“For art remained more or less unchanged while the Romans conquered the world and founded their own empire on the ruins of the Hellenistic kingdoms…Nevertheless art did change, to some extent, when Rome became mistress of the world. The artists were given new tasks and had to adapt their methods accordingly.” (page 93)
In this short chapter, we will see Gombrich approach to the Romans’ contributions to art, and how they returned to some extent to the styles of the Egyptians, especially in focusing only in the relevant parts and leaving the others out, and that this was taken by the Christian artists.
“It was typical of the Romans to take from Greek architecture what they liked, and to apply it to their own needs. They did the same in all fields. One of their principal needs was for good, lifelike portraits.” (page 94)
“Everything which was not strictly relevant was better left out. Once more ideas of clarity and simplicity began to overweight ideals of faithful imitation.” (page 99)
“And yet, to us, these figures seem to have a life of their own, and a very intense expression which is due to the firm marking of the features and the care bestowed on such traits as the part around the eyes and the furrows of the brow. They portray the people who witnessed, and finally accepted, the rise of Christianity, which meant the end of the ancient world.” (page 100)
Chapter 6. A Parting of Ways
Rome and Byzantium, fifth to thirteenth century
“When, in the year 311 AD, the Emperor Constantine established the Christian Church as a power in the State, the problems with which it saw itself were enormous…once the Church had become the greatest power in the realm, its whole relationship to art had to be reconsidered.” (page 103)
During this period, we can see how art became more related with religion. This was something that was no longer that way, but with the rise of the Church, religion became again one of the main themes of art.
“The Egyptian ideas about the importance of clarity in the representation of all objects had returned with great force because of the stress which the Church laid on clarity. But the forms which the artists used in this new attempt were not the simple forms of primitive art, but the developed forms of Greek painting…They no longer set out to make discoveries about how to represent a body, or how to create the illusion of depth. But the discoveries which had been made were never lost. Greek and Roman art provided an immense stock of figures standing, sitting, bending down or falling. All these types could prove useful in the telling of a story, and so they were assiduously copied and adapted to ever-new contexts.” (page 107)
“Painting can do for the illiterate what writing does for those who can read.”
- Pope Gregory the Great
The quote above explains how images where introduced in the churches, leading to a new area in art. Images, thus acquired a state of holiness and not just of paintings. “They were looked upon as mysterious reflections of the supernatural world.” (page 108) This created some rigidity in maintaining the standards of the holy images of the Church, but still the artists managed to made of those simple illustrations the great cycles of large and solemn images that dominate the interior of Byzantine churches.
“When, in the year 311 AD, the Emperor Constantine established the Christian Church as a power in the State, the problems with which it saw itself were enormous…once the Church had become the greatest power in the realm, its whole relationship to art had to be reconsidered.” (page 103)
During this period, we can see how art became more related with religion. This was something that was no longer that way, but with the rise of the Church, religion became again one of the main themes of art.
“The Egyptian ideas about the importance of clarity in the representation of all objects had returned with great force because of the stress which the Church laid on clarity. But the forms which the artists used in this new attempt were not the simple forms of primitive art, but the developed forms of Greek painting…They no longer set out to make discoveries about how to represent a body, or how to create the illusion of depth. But the discoveries which had been made were never lost. Greek and Roman art provided an immense stock of figures standing, sitting, bending down or falling. All these types could prove useful in the telling of a story, and so they were assiduously copied and adapted to ever-new contexts.” (page 107)
“Painting can do for the illiterate what writing does for those who can read.”
- Pope Gregory the Great
The quote above explains how images where introduced in the churches, leading to a new area in art. Images, thus acquired a state of holiness and not just of paintings. “They were looked upon as mysterious reflections of the supernatural world.” (page 108) This created some rigidity in maintaining the standards of the holy images of the Church, but still the artists managed to made of those simple illustrations the great cycles of large and solemn images that dominate the interior of Byzantine churches.