DOI Heft:
Nr. 1
DOI Artikel:Woodfield, Richard: Ernst Gombrich and Max Dvořák
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.31179#0128
VII — "The work of art as a formed Spirit of the
Age" and Vlil - "Personality and Expression - the
work of art as an expression of the personality of
the artisťV A discussion of Dvorak's work formed
part of section VII.
Gombrich opened his discussion of ZA/ ////d
hbm? with the following general remarks, which I
will quote at length:
"H/A/Tp/y /o oxp/777/7 7/py /7^/A^ /7go T/dp/r /7pT/A/H/Ar
/A7/7, 7?y foy//A'/7gpfo777 /Po /o/z/OT/po/t/ry P/z/T/Z/'o// /////f Vo
co/zAz/porT/ry /77777p 77/7// G/zo/xo/y, /o co/z/AA AG/ V<? Ipz'P/
p Po /7gA w//y/ ^777/0 ^oo/z A)/ pp/T/z/i? /o p 77A 77/7//
/o Po /zop^^OT/P/zy ///"My p P/on%///r/' 77/7// ro/Pp ^o G<A 77
P/7g zz/py. TVr /hp /G/P y/z'P A /G GP G Po /P/o o/
lE//7pop7T7/7/7, /*077poy Po ProPoA o/ oo/zyAoT/y/zoyy /HP
HorPo/*T7/7/pyo/, PTo ArproPo/xy/wx GooPo 77/zP ITP/z^o/zroPor
A y/zP TzP/o^oP //o co/zyAoz/y prz/zz/A/zo/z.
7/? Po^/xz/zPoyo PooPoy V Tpp prz/zGz^ z/z/^y 77A0 Po
n/yo PA Pz Po Wort o/ 7?G p ^ ////P fí t*opz'o/z z'/z'y o/?/)/
77 7/zG/or p ypo A/zy /z oz/z oyoryPz'/zg /y oo/z/zoo/oPf Ar Poory o/
/zw/P py/ory /zy Po Pz'y/ory p Po 'Goz'y/' /z/ozPopoyyp/o AG
o/z/y rooo/zp Aí/zv D/?oPp /A 7/777/7 77A0 7f0žgZ?/ Pz'yproooyy
/o oo/pP/zo/z, 077PP Ar/ Ar/ort 7/y Geistesgeschichte 1
Hy 7 /ry z/z Pz'y oPp/or /o ov/zG/zo 77/*/ Pz*y/op77/7y to
/zz/zzzoroz/y 77/7P to Pzho/xo /?y /A po/GP Po/z/^oo/z hoP/z/ZTzyo 77/7P
DzwPP pd/x z/y 7 ooz/GpoPpypz/y/ýj zpyop* At poz/z/zp
07// P77/ Art poyyoyyoP 77 00777/770/7 pop* P^ Pzyoo^op o/ /A
P/7Á ^OGVO/Z Po po /7/7p PopfZ/7. 1E7oAof Art ^OpZ AP Po
pór/// Z/7 orPor /o /rt /o zz/o A Poz/zyoPoy Z/7/0 Po pzEP o/ Po
Ago ", or zPoPor Art royoTzro^ Po po Z/7 orAr /o zz/zPo/xG/zP
Poporz% z'y //o/ roTZp z/po/G/z/.
^ Ms. addendum to ppescript.
^ GOMBRICH 1928 (see in note 3), p. 61, quoting Hegďs
PfzApfz/ArGuA/A/r: "DB lArt/zAr Azz Gr^/AzzAA/rZA
7777t Azz I ^ZAV/rMor 7or V777- ,%%7 írror/rA/ ?7/ řAAror 77//ňi //Ægr
ÁArt Ar AAAtAřr HGAor řZrřr Zři/ ry/ ^řMA^^r/ř GAZ/ř
Ar HArr/rr 7řr GřtřAAy/Z 7%// Aer? tlOr/ r/p Ar 'ZÀAV yr
tAAttřtr rřZAřr Zr ZAřr MrAA^^ ^ři/ yrrř'A. B<?Z HVrA/Arrr
7/r VZr?ř řr/7rAr, ÀOTrr?/ Ar GArrA /'řZ VřrAr; ^rry rV/ rr AZ
ir/<7rřAř At Břrwtt/třZrt, AA <%^řr ř^řrto/ror^ Ař Ai GA/A o Ar
RGAřrroAr yrr Arwt/řr řZr/77AZrrrgyř7mA/.
Err/ AZ, y7*otjy7^^řr Aort/rrÁ/Zorřr PřřgA, 7ř/r řt rrA Zr Ay
GřtAZA/ř Ar Arrt/, At RřA/y 7řr RřAZor ' rrr 7rrry/ rrÁor77r/
ZZ^ ArZrtr/r/rřrZrrg At Grryřr rTA^ygZ^/r'ZAl třirřBř/rrA/rrg
Ar tCZAřtrZZT/ř r/r 7řr GřtAZA/ř At Gřit/řtl Zr/ At wógAZ
^řTrrrZ/, r^rt wr Árryřr? 7řr IGArJřr Ařtřr Er/%A/éArg Aírte
DrcAC Rrrt^řtrZZrZ/řrA Gřit/řjgřtrZZA/řV^rrrr/Zr/.
71E proro^ArZ/o por /7Zr ppo <p ^ ^
7Zr/ort Zr ^ /Zoip drtZro porpV^^^lf^^ f07/pr<?7o/7rZo/7, op
7rt7/7/Z/7g /O tOO ř7/7/Z p'o/ T7Í /7o řTgO ř7//P p'/ZV"
In this extract, Gombrich recognises that the
idea of the connection between form and âge went
back a long way. Indeed, as he would later corne to
recognise, 1t was a topic populär in classical antiquity
amongst the orators. Hegel was responsible for Cast-
ing it into a philosophical theory. From his Viennese
perspective, and his fascination for philosophy, it was
natural for him to make that connection. He would
not hâve had any reason to see the topic from an
English historical perspective. We shall pursue the
signihcance of this later. At this point in his philo-
sophical career he did not dig more deeply into the
problems caused by circular argument, either by way
of justification or criticism.
Under this category, Gombrich proceeded to
discuss Schnaase, who was "/A?p/x/ Ar/o/Gz/ /o y//ix-
/Z7777 /%^72 VZ/Tgr". He recognised that artistic
"mistakes" were actually ways m which the artist
could give concrète expression to his thoughts: "...
p TW /7o /ro7/7/Z /o /ZW Gpor p7yp 77 ///M/zZ/Tg
77/7/Z oyo/7 77 roG/?/'/? W/z/y." Then Taine, who tried to
explain the associations between art and thought by
portraying the relationship between art and its social
and cultural background "Tt/yT/TtVVy 77/7/Z W/ZZy". The
master of that particular art was Jacob Burckhardt,
whose account of the Renaissance held "/^WZGTgo/Z
/77///p77/y ČWf /A G///*77/<?/Z T77//ZZ/'/7/'/' Op Ví /Z/T/dV HÍS
opinions on art were now questioned because of
VH/? Zr/? Z// A/i/z^ Vp//ř/ y/fr^rZ?/, ro /rrr/AZA/// T^r/rApA/rA^)
%A vZ 77//r AZ E77/ArÁAyg Vf/ZT/T/rr AZ DwZZZÀ wr Hygrz?
r//A, 77/z/rr /Zzz/w GrAA/pT/z/À/ Z*/Z?777zAA, r/ zzzyg AZr A7A/71A
^rrrrZ?Ar/p/ zy/rA//, Au ZZ?7zr;z A//% Ar ZZr/ Zr/, A/z
ZT/rTZ/W/T/ř/z^T/yg z?/?/z 'ZrZ/ zzzzd BA/zz ' zzy/yArrCrzz, cZ? rzZ A AZ wzz Ar
BZrw ^zzrgArzz, zzTzz AE Arrf rzZ Zzz Azz GrzZ/Ar Z/Z/rzz yzz yrur/y/zzl
/?Ar A rzZ AZ Z/Z/ ArrZpriA/zz z/zz? zzz/r Zfr AZu BZrzzz yzz y/u/A/zz
AG/ zA GrzzzzA z/zzzy/uzz/zZA.
lAz/zzzuř/^zzzzgAr^^^I^dřrXzzzzr/- zzA GurAZArA/zvrAzzzzgzZ/
/Zz/ /zZpy HZA yzz/zz yp?Ao/i?gZGř/z HZu/AAzZ, yzzz* EZzpZ^^Tzg zzz
Ar bA/zz zzzzd HA Azz /Zzzrz^ ZrZ//'
Ibidem, p. 62, quoting Schnaase's GuAZA/r Az" AA/zzAzz Az/zzt-
//.
^ Ibidem, p. 63.
126
Age" and Vlil - "Personality and Expression - the
work of art as an expression of the personality of
the artisťV A discussion of Dvorak's work formed
part of section VII.
Gombrich opened his discussion of ZA/ ////d
hbm? with the following general remarks, which I
will quote at length:
"H/A/Tp/y /o oxp/777/7 7/py /7^/A^ /7go T/dp/r /7pT/A/H/Ar
/A7/7, 7?y foy//A'/7gpfo777 /Po /o/z/OT/po/t/ry P/z/T/Z/'o// /////f Vo
co/zAz/porT/ry /77777p 77/7// G/zo/xo/y, /o co/z/AA AG/ V<? Ipz'P/
p Po /7gA w//y/ ^777/0 ^oo/z A)/ pp/T/z/i? /o p 77A 77/7//
/o Po /zop^^OT/P/zy ///"My p P/on%///r/' 77/7// ro/Pp ^o G<A 77
P/7g zz/py. TVr /hp /G/P y/z'P A /G GP G Po /P/o o/
lE//7pop7T7/7/7, /*077poy Po ProPoA o/ oo/zyAoT/y/zoyy /HP
HorPo/*T7/7/pyo/, PTo ArproPo/xy/wx GooPo 77/zP ITP/z^o/zroPor
A y/zP TzP/o^oP //o co/zyAoz/y prz/zz/A/zo/z.
7/? Po^/xz/zPoyo PooPoy V Tpp prz/zGz^ z/z/^y 77A0 Po
n/yo PA Pz Po Wort o/ 7?G p ^ ////P fí t*opz'o/z z'/z'y o/?/)/
77 7/zG/or p ypo A/zy /z oz/z oyoryPz'/zg /y oo/z/zoo/oPf Ar Poory o/
/zw/P py/ory /zy Po Pz'y/ory p Po 'Goz'y/' /z/ozPopoyyp/o AG
o/z/y rooo/zp Aí/zv D/?oPp /A 7/777/7 77A0 7f0žgZ?/ Pz'yproooyy
/o oo/pP/zo/z, 077PP Ar/ Ar/ort 7/y Geistesgeschichte 1
Hy 7 /ry z/z Pz'y oPp/or /o ov/zG/zo 77/*/ Pz*y/op77/7y to
/zz/zzzoroz/y 77/7P to Pzho/xo /?y /A po/GP Po/z/^oo/z hoP/z/ZTzyo 77/7P
DzwPP pd/x z/y 7 ooz/GpoPpypz/y/ýj zpyop* At poz/z/zp
07// P77/ Art poyyoyyoP 77 00777/770/7 pop* P^ Pzyoo^op o/ /A
P/7Á ^OGVO/Z Po po /7/7p PopfZ/7. 1E7oAof Art ^OpZ AP Po
pór/// Z/7 orPor /o /rt /o zz/o A Poz/zyoPoy Z/7/0 Po pzEP o/ Po
Ago ", or zPoPor Art royoTzro^ Po po Z/7 orAr /o zz/zPo/xG/zP
Poporz% z'y //o/ roTZp z/po/G/z/.
^ Ms. addendum to ppescript.
^ GOMBRICH 1928 (see in note 3), p. 61, quoting Hegďs
PfzApfz/ArGuA/A/r: "DB lArt/zAr Azz Gr^/AzzAA/rZA
7777t Azz I ^ZAV/rMor 7or V777- ,%%7 írror/rA/ ?7/ řAAror 77//ňi //Ægr
ÁArt Ar AAAtAřr HGAor řZrřr Zři/ ry/ ^řMA^^r/ř GAZ/ř
Ar HArr/rr 7řr GřtřAAy/Z 7%// Aer? tlOr/ r/p Ar 'ZÀAV yr
tAAttřtr rřZAřr Zr ZAřr MrAA^^ ^ři/ yrrř'A. B<?Z HVrA/Arrr
7/r VZr?ř řr/7rAr, ÀOTrr?/ Ar GArrA /'řZ VřrAr; ^rry rV/ rr AZ
ir/<7rřAř At Břrwtt/třZrt, AA <%^řr ř^řrto/ror^ Ař Ai GA/A o Ar
RGAřrroAr yrr Arwt/řr řZr/77AZrrrgyř7mA/.
Err/ AZ, y7*otjy7^^řr Aort/rrÁ/Zorřr PřřgA, 7ř/r řt rrA Zr Ay
GřtAZA/ř Ar Arrt/, At RřA/y 7řr RřAZor ' rrr 7rrry/ rrÁor77r/
ZZ^ ArZrtr/r/rřrZrrg At Grryřr rTA^ygZ^/r'ZAl třirřBř/rrA/rrg
Ar tCZAřtrZZT/ř r/r 7řr GřtAZA/ř At Gřit/řtl Zr/ At wógAZ
^řTrrrZ/, r^rt wr Árryřr? 7řr IGArJřr Ařtřr Er/%A/éArg Aírte
DrcAC Rrrt^řtrZZrZ/řrA Gřit/řjgřtrZZA/řV^rrrr/Zr/.
71E proro^ArZ/o por /7Zr ppo <p ^ ^
7Zr/ort Zr ^ /Zoip drtZro porpV^^^lf^^ f07/pr<?7o/7rZo/7, op
7rt7/7/Z/7g /O tOO ř7/7/Z p'o/ T7Í /7o řTgO ř7//P p'/ZV"
In this extract, Gombrich recognises that the
idea of the connection between form and âge went
back a long way. Indeed, as he would later corne to
recognise, 1t was a topic populär in classical antiquity
amongst the orators. Hegel was responsible for Cast-
ing it into a philosophical theory. From his Viennese
perspective, and his fascination for philosophy, it was
natural for him to make that connection. He would
not hâve had any reason to see the topic from an
English historical perspective. We shall pursue the
signihcance of this later. At this point in his philo-
sophical career he did not dig more deeply into the
problems caused by circular argument, either by way
of justification or criticism.
Under this category, Gombrich proceeded to
discuss Schnaase, who was "/A?p/x/ Ar/o/Gz/ /o y//ix-
/Z7777 /%^72 VZ/Tgr". He recognised that artistic
"mistakes" were actually ways m which the artist
could give concrète expression to his thoughts: "...
p TW /7o /ro7/7/Z /o /ZW Gpor p7yp 77 ///M/zZ/Tg
77/7/Z oyo/7 77 roG/?/'/? W/z/y." Then Taine, who tried to
explain the associations between art and thought by
portraying the relationship between art and its social
and cultural background "Tt/yT/TtVVy 77/7/Z W/ZZy". The
master of that particular art was Jacob Burckhardt,
whose account of the Renaissance held "/^WZGTgo/Z
/77///p77/y ČWf /A G///*77/<?/Z T77//ZZ/'/7/'/' Op Ví /Z/T/dV HÍS
opinions on art were now questioned because of
VH/? Zr/? Z// A/i/z^ Vp//ř/ y/fr^rZ?/, ro /rrr/AZA/// T^r/rApA/rA^)
%A vZ 77//r AZ E77/ArÁAyg Vf/ZT/T/rr AZ DwZZZÀ wr Hygrz?
r//A, 77/z/rr /Zzz/w GrAA/pT/z/À/ Z*/Z?777zAA, r/ zzzyg AZr A7A/71A
^rrrrZ?Ar/p/ zy/rA//, Au ZZ?7zr;z A//% Ar ZZr/ Zr/, A/z
ZT/rTZ/W/T/ř/z^T/yg z?/?/z 'ZrZ/ zzzzd BA/zz ' zzy/yArrCrzz, cZ? rzZ A AZ wzz Ar
BZrw ^zzrgArzz, zzTzz AE Arrf rzZ Zzz Azz GrzZ/Ar Z/Z/rzz yzz yrur/y/zzl
/?Ar A rzZ AZ Z/Z/ ArrZpriA/zz z/zz? zzz/r Zfr AZu BZrzzz yzz y/u/A/zz
AG/ zA GrzzzzA z/zzzy/uzz/zZA.
lAz/zzzuř/^zzzzgAr^^^I^dřrXzzzzr/- zzA GurAZArA/zvrAzzzzgzZ/
/Zz/ /zZpy HZA yzz/zz yp?Ao/i?gZGř/z HZu/AAzZ, yzzz* EZzpZ^^Tzg zzz
Ar bA/zz zzzzd HA Azz /Zzzrz^ ZrZ//'
Ibidem, p. 62, quoting Schnaase's GuAZA/r Az" AA/zzAzz Az/zzt-
//.
^ Ibidem, p. 63.
126