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Bibliography

The following bibliography is based on Sir Ernst’s own record plus my own notes. It is no replacement for J.B. Trapp, E.H. Gombrich: A Bibliography. London: Phaidon 2000, which is considerably more detailed.

Richard Woodfield        18.04.2011

1930

Ein chinesisches Gedicht – und was ihm bei seiner Übertragung ins Deutsche alles passieren könnte, Literarische Monatshefte, 5, pp. 12-13.

1933

Eine verkannte Karolingische Pyxis im Wiener Kunsthistorischen Museum, Jahrbuch der Kunsthistorischen Sammlungen in Wien, n.f. 7, pp. 1-14.

1934

Zum Werke Giulio Romanos: 1. Der Palazzo del Te, Jahrbuch der Kunsthistorischen Sammlungen in Wien, N.F. 8, pp. 79-104.

1935

Zum Werke Giulio Romanos: 2, Versuch einer Deutung, Jahrbuch der Kunsthistorischen Sammlungen in Wien, N.F. 9, pp. 121-150.

Translation: Italian, 1984.

A bécsi oltár és az Esztergomi Múseum fareliefjeinek történeti helyzete (The art-historical position of the Vienna altar and the wooden reliefs of the Esztergom Museum) with summaries in German, French and English, Magyar Müvészet, 11, pp. 223-228.

Unser Weg zur Kunst, Tag der Jugend, Der Wiener Tag, 30 December, 5.

Review:

J. Bodonyi, Entstehung und Bedeutung des Goldgrundes in der spätantiken Bildkomposition (Archaeologiai Értesitë, 46, 1932/3). Kritische Berichte zur Kunstgeschichtlichen Literatur, 5, 1932/33, (published in 1935), pp. 65-75.

1936

Weltgeschichte von der Urzeit bis zur Gegenwart (2 editions). (Wissenschaft für Kinder). Vienna, 302 pp., 71 ill.

Translations:

Danish, Copenhagen n.d. Dutch, Amsterdam n.d. Norwegian, Oslo 1937. Polish, Crakow 1938. Swedish, Stockholm 1937. Revised with new chapter, Eine kurze Weltgeschichte für junge Leser: Von der Urzeit bis zur Gegenwart, Cologne 1985; Hungarian 1991; Slovene 1991; English 2005, A Little History of the World.

Extract:

Buddha, Der Wiener Tag, 11 Nov. 1935.

1937

A classical quotation in Michael Angelo’s “Sacrifice of Noah”, Journal of the Warburg Institute, p. 69.

Wertprobleme und mittelalterliche Kunst, Kritische Berichte zur kunstgeschichtlichen Literature, 6, pp. 109-116.

Translation:

English as “Achievement in Medieval Art” in Meditations on a Hobby Horse, 1963.

1938

Goethe’s “Zueignung” and Benivieni’s “Amore”, Journal of the Warburg Institute, pp. 331-339.

(With Ernst Kris). The Principles of Caricature, British Journal of Medical Psychology, 17, pp. 319-342.

Reprinted in E. Kris, Psychoanalytic Explorations in Art, 1952. Italian edition 1967.

Reviews:

20, including A. Warburg, Gesammelte Schriften. A Bibliography of the Survival of the Classics, London, The Warburg Institute.

Also:

A. Warburg, reprinted in Dieter Wuttke (Ed.), Ansgewählte Schriften und Würdigungen, pp. 433-435 [2nd Ed. 1980].

1939

Art in education – 8: Some trends and experiments abroad, The Listener, 22 September, pp. 564-565.

Art and Propaganda, The Listener, 7 December.

Obituary: Julius von Schlosser, Burlington Magazine, 74, pp. 98-99.

1940

(With Ernst Kris): Caricature, King Penguin Books, 5, Harmondsworth, Mddx. 31 pp., 16 colour plates, 19 text ill.

The Artist and the Art of War, The Listener, 29 August, pp. 311-312.

1942

Reynolds’s Theory and Practice of Imitation, Burlington Magazine, 80, pp. 40-45. Reprinted in Norm and Form, 1966.

1944

The Subject of Poussin’s “Orion”, Burlington Magazine, 84, pp. 37-41. Reprinted in Symbolic Images, 1972. French, 1983.

1945

Botticelli’s mythologies. A study in the Neoplatonic symbolism of his circle, Journal of the Warburg and Courtauld Institutes, 8, (published in 1947), pp. 7-60. Reprinted in Symbolic Images, 1972.

John Milton, Die Freiheit des Wortes, (translations from Areopagitica), in Ausblick, Zeitfragen im Lichte der Weltmeinung, June, pp. 1-7.

Portrait Painting and portrait photography, in Apropos. A series of art books, 3.

Review:

R. Langton Douglas, Leonardo da Vinci, His Life and Pictures, Burlington Magazine, Vol. 86, 1945, pp. 129-30.

1946

Review:

George R. Kernodle, From Art to Theatre. Form and Convention in the Renaissance, Burlington Magazine, Vol. 88, 1946, p.103.

1947

Cartoons and Progress, in A.G. Weidenfeld (ed.), The Public’s Progress, Contact Books, 5, London, pp. 74-83.

Review:

Wilhelm Waldmann, Honore Daumier, 240 lithographs. Burlington Magazine, 89, pp. 231-32.

1948

Icones Symbolicae. The visual image in neo-Platonic thought, Journal of the Warburg and Courtauld Institutes, 11, pp. 163-192. Reprinted (revised) in Symbolic Images, 1972.

Translation: French, in: D. Arasse and G. Brunel, Eds., Symboles de la Renaissance, Paris, 1976, pp. 17-29. (shortened version)

Tobias and the angel, Harvest. 1: Travel, pp. 63-67. Reprinted in Symbolic Images, 1972.

Reviews:

Daria Hambourg, Richard Doyle; Ruari Mclean, George Cruickshank; Frances Sarzano, Sir John Tenniel. (English Masters of Black and White). Burlington Magazine, 90, p. 153.

Peter Meyer, Europäische Kunstgeschichte, 1: Vom Altertum bis zum Ausgang des Mittelalters, Zürich. Burlington Magazine, 90, p. 272.

1949

Imagery and art in the Romantic period, Burlington Magazine, 91, pp. 153-158. Reprinted in Meditations on a Hobby Horse, 1963; and in F.Licht (ed.), Goya in Perspective, 1973.

Review:

Charles Morris, Signs, Language and Behaviour, New York. Art Bulletin, 31, pp. 68-75. Reprinted in Reflections on the History of Art, 1987.

1950

The Story of Art, London, 462 pp., 370 ill.

11th edition revised and enlarged 1966, 488 pp., 383 ill., 12th edition enlarged and redesigned 1972, 498 pp., 398 ill. 13th edition, redesigned 1978. 14th edition, enlarged and reset 1984, 520pp., 406 ill. 15th edition, enlarged and revised 1989, 546 pp., 411 ill. 16th edition, revised, expanded and redesigned 1995, 688 pp., 413 ill.

Translations:

Afrikaans, Cape Town 1957. Danish, Copenhagen 1953; 2nd edition (revised) 1973, 3rd 1979. Dutch, Utrecht 1951; (revised) Hilversum 1967. Finnish, Helsinki 1955. French, Paris 1963; 2nd edition (revised paperback) Paris 1967; new edition Paris 1982. German, Cologne 1953; Stuttgart 1978. Hebrew, Tel-Aviv 1955; 2nd edition 1964. Hungarian, Budapest 1974. Italian, Milan 1952; 2nd edition (revised) Turin 1966, 1973. Japanese, Tokyo Vol. I 1972, vol. II 1974; new edition (with 2nd preface) 1982. Norwegian, Stavanger 1955; Oslo 1979. Portuguese, Lisbon 1961; Rio 1979. Rumanian, Bucharest 1975. Serbocroat, Beograd 1980. Spanish, Barcelona 1951. Swedish, Stockholm 1954, 2nd edition (revised) 1966, 3rd 1979. Turkish, Istanbul 1976.

Extracts:

On Art and Artists, in Leslie Wilbur & Lowell Dabbs, Improving College English Skills, Chicago 1962; 11th edition, postscript 1965, The Atlantic, February 1966.

The Sala dei Venti in the Palazzo del Te, Journal of the Warburg and Courtald Institutes, 13, pp. 189-201. Reprinted in Symbolic Images, 1972.

Reviews:

Eric Newton, The Meaning of Beauty, London. The Listener, 22 June, p. 1063. Reprinted in Reflections on the History of Art, 1987.

Lancelot Hogben, From Cave Painting to Comic Strip, New York. Magazine of Art, November, pp. 275-276.

1951

Hypnerotomachiana, Journal of the Warburg and Courtauld Institutes, 14, pp. 119-125. Reprinted in Symbolic Images, 1972.

Meditations on a hobby horse, or the roots of artistic form, in L.L. Whyte (ed.), Aspects of Form. A Symposium, London, 1951.

Reprinted in: Meditations on a Hobby Horse and other Essays on the Theory of Art, London, 1963; M. Philipson (ed.), Aesthetics Today, Cleveland, 1961; J. Miles, Classic Essays in English, Boston, 1961; G. Pappas, Concepts in Art Education, Toronto, 1970; Newly designed: Norwich School of Art, 1973.

Review:

Giorgio Castelfranco, Lineamenti di estetica, Florence 1950. Journal of Aesthetics and Art Criticism, 10, pp. 78-9.

1952

A classical “Rake’s Progress”, Journal of the Warburg and Courtauld Institutes, 15, pp. 255-64.

Kunstwissenschaft; Kunstliteratur, in Atlantisbuch der Kunst, Zürich, pp. 653-679.

The Open Society – a Comment, British Journal of Sociology, 3, pp. 358-60.

Reviews:

(unsigned) Ludwig Goldscheider, Michelangelo Drawings, London. Times Literary Supplement, 4 January.

Kenneth Clark, Piero della Francesca, London. Burlington Magazine, 94, pp. 176-78. Reprinted in Reflections on the History of Art, 1987.

Lawrence Gowing, Vermeer, London. The Observer, 7 September.

1953

Renaissance artistic theory and the development of landscape painting, Gazette des Beaux-Arts, 41, pp. 335-360. Reprinted in Norm and Form, 1966.

Reviews:

Arnold Hauser, The Social History of Art, 1951. Art Bulletin, 35, pp. 79-84. Reprinted in Meditations on a Hobby Horse, 1963.

R. Hinks, Michelangelo Merisi da Caravaggio – His life – his legend – his works, London; R. Hinks, Caravaggio’s Death of the Virgin, Charlton Lectures on Art, 35, London; B. Berenson, Caravaggio, his incongruity and his fame, London. The Listener, 31 December.

M.Meiss, Painting in Florence and Sienna after the Black Death, Princeton 1951. Journal of Aesthetics and Art Criticism, 11, pp. 414-416. Reprinted in Reflections on the History of Art, 1987.

B. Rowland Jr., The Art and Architecture of India and E.K. Waterhouse, Painting in Britain, 1530-1790, (The Pelican History of Art). The Observer, 17 May.

E.K. Waterhouse, Painting in Britain, 1530-1790, (The Pelican History of Art), The Listener, 18 June.

1954

Conseils de Léonard sur les esquisses de tableaux, “L’Art et la Pensée de Léonard de Vinci”; Actes du Congrès Léonard de Vinci, Etudes d’Art Nos. 8,9, et 10, pp. 179-197. Reprinted in English in Norm and Form, 1966.

“Cosi fan tutte”, Procris included, Journal of the Warburg and Courtauld Institutes, 17, pp. 372-373. Italian translation (expanded) in cosi fan tutte, Maggia Musicale, Fiorentino 1991

(Casa di Risparmio di Firenze), pp. 127-136.

L’influence des astres sur la culture de la Renaissance, Les Beaux-Arts, December (L’Europe Humaniste), 7.

Leonardo’s grotesque heads. Prolegomena to their study, in A. Marezza (ed.), Leonardo. Saggi e ricerche, Rome, pp. 199-219; Italian, pp. 541-556. Reprinted in The Heritage of Apelles, 1976.

André Malraux and the Crisis of Expressionism, Burlington Magazine, 96, pp. 374-378. Reprinted in Meditations on a Hobby Horse, 1963; French (partial) translation France Observateur, 6 December 1962.

Psycho-analysis and the history of art, International Journal of Psycho-analysis, 35, pp. 401-411. Reprinted in Meditations on a Hobby Horse, 1963; B. Nelson (ed.), Freud and the 20th Century, New York, 1957, London 1958.

Translations:

Italian, E.H. Gombrich, Freud e la Psicologia dell’ Arte, Turin 1967; Spanish, E.H. Gombrich, Freud y la Psicología del Arte, Barcelona 1971.

Visual Metaphors of value in art, in L. Bryson et al. (ed.), Symbols and Values: an initial study. 13th symposium of the conference on science, philosophy and religion, New York, pp. 225-281. Reprinted in Meditations on a Hobby Horse, 1963; and in R.A. Smith (ed.), Aesthetics and Criticism in Art Education, Chicago 1966.

Reviews:

Dorothy George, Catalogue of Political and Personal Satires preserved in the Department of Prints and Drawings in the British Museum, vol. 9, Burlington Magazine, 96, p. 27.

William M. Ivins, Prints and Visual Communication, British Journal for the Philosophy of Science, 5, pp. 168-169.

Letter:

The Emptying of Museums, The Burlington Magazine, Vol. 96, No. 611 (Feb., 1954), pp. 58+61

1955

Apollonio di Giovanni. A Florentine cassone workshop seen through the eyes of a humanist poet, Journal of the Warburg and Courtauld Institutes, 18, pp. 16-34. Reprinted in Norm and Form, 1966.

The Renaissance concept of artistic progress and its consequences, Actes du 17e Congrès International d’Histoire de L’Art, (Amsterdam 1952), The Hague 1955, pp. 291-307. Reprinted in Norm and Form, 1966.

1956

Raphael’s Madonna della Sedia, Charlton Lectures on Art, 38 pp. Reprinted on Norm and Form, 1966.

Review:

Werner Hofmann, Die Karikatur. Burlington Magazine, 99, p. 320.

1957

Art and Scholarship. An inaugural lecture (University College, London), 21 pp. Reprinted in College Art Journal, 17, 1958, pp. 342-356; and Meditations on a Hobby-Horse, 1963.

A classical topos in the introduction to Alberti’s “Della Pittura”, Journal of the Warburg and Courtauld Institutes, 20, p. 173.

Reviews:

Dorothy George, Catalogue of Political and Personal Satires preserved in the Department of Prints and Drawings in the British Museum, Vol. 11. Burlington Magazine, 99, p. 320.

Richard Krautheimer, Lorenzo Ghiberti. Apollo, July, pp. 306-307.

Dora and Erwin Panofsky, Pandora’s Box, The Changing Aspects of a Mythical Symbol. Burlington Magazine, 99, p. 280.

John White, The Birth and Rebirth of Pictorial Space. Apollo, December, p. 198.

Obituary: Ernst Kris, The Times, 23 March.

1958

Lessing. (Lecture on a Master Mind – 1957), Proceedings of the British Academy, 43, pp. 133-156. Reprinted in Tributes, 1984.

Translation:

German in Gastspiele, 1992.

The Tyranny of abstract art, The Atlantic, 201, pp. 43-48. Reprinted as “The Vogue of Abstract Art” in Meditations on a Hobby Horse, 1963.

Ed., with Julius S. Held and O. Kurz, Essays in Honor of Hans Tietze, 1880-1954, Paris, VIII, 466 pp.

Review:

John Pope-Hennessy, Italian Renaissance Sculpture, London 1958. Apollo, December, pp. 228-229.

1959

The Repentance of Judas, in Piero della Francesa’s “Flagellation of Christ”, Journal of the Warburg and Courtauld Institutes, 22, p. 172. Reprinted in Reflections on the History of Art, 1987.

Obituary: Erica Tietze-Conrat (1883-1958), College Art Journal, 18, p. 248.

1960

Art and Illusion. A Study in the Psychology of Pictorial Representation, 466 pp. 320 ill.

(Andrew William Mellon lectures in the fine arts, 5, 1956. Bollingen Series, 35, 5). New York and London 1960. (copyright 1959).

London edition reset, 1962. This edition republished, London 1962, 1968, 1972 (in each case with an additional preface). Slightly revised 1983 (p. 254).

Translations:

Bulgarian, 1988. Chinese, 1988 with new introduction; another Chinese translation, 1990. Czech, 1985. Dutch, Zeist 1964 and De Haan 1988. French, Paris 1971. German, Cologne 1967; Stuttgart 1978. Hebrew, 1988 with new introduction. Hungarian, Budapest 1972. Italian, Turin 1965 (with a new preface). Japanese, Tokyo 1979. Polish, 1981. Portuguese, 1986. Rumanian, Bucharest 1973. Serbocroat, Beograd 1984. Spanish, 1979. Swedish, Stockholm 1972. Turkish, 1993.

Extracts:

Irma Rautavaara, Nyky-estetiikan Ongelimia, Helsinki 1971, from Chapter 2.

H. Adams, Critical Theories since Plato, N.Y. 1971, from Chapter 11.

The early Medici as patrons of art: A survey of primary sources, E.F. Jacob, (ed.) Italian Renaissance Studies, pp. 279-311. Reprinted in Norm and Form, 1966.

On physiognomic Perception, Daedalus. Journal of the American Academy of arts and sciences, (Special issue: The Visual Arts today), pp. 228-241. Reprinted in Meditations on a Hobby Horse, 1963.

Translation:

Swedish in Paletten, 4, 1964.

Vasari’s “Lives” and Cicero’s “Brutus”, Journal of the Warburg & Courtauld Institutes, 23, pp. 309-311.

Review:

A. Malraux, The Metamorphoses of the Gods, The Observer, 9 October. Reprinted in Reflections on the History of Art, 1987.

1961

Critics, courts and artists. The 3rd Past and Present Conference…., Past & Present, 19, pp. 19-20.

How to read a painting. (Adventures of the Mind) The Saturday Evening Post, 234, pp. 20-21, 64-65. Reprinted as “Illusion and Visual Deadlock” in Meditations on a Hobby Horse, 1963.

Das Wesen der Karikatur, Veröffentlichung der Evangelischen Akademie Tutzing: Jahrbuch, 11, pp. 287-296.

1962

The Tradition of General Knowledge, (Oration delivered at the London School of Economics), privately circulated, 23 pp. Reprinted in M. Bunge (ed.), The Critical Approach to Science and Philosophy (Essays in Honor of Karl Popper), New York, 1964 and Ideals and Idols, 1979.

Art and the language of the emotions, The Aristotelian Society, Supplementary Vol. 36, pp. 215-234. Reprinted as “Expression and Communication” in Meditations on a Hobby Horse, 1963.

Alberto Avogadro’s Descriptions of the Badia of Fiesole and of the Villa of Careggi, Italia medioevale e umanistica, 5, pp. 217-229.

(With Michael Baxandall): Beroaldus on Francia, Journal of the Warburg and Courtaulds Institutes, 25, pp. 113-115.

Blurred Images and the unvarnished truth, British Journal of Aesthetics, 2, pp. 170-179.

Dark Varnishes: variations on a theme from Pliny, Burlington Magazine, 104, pp. 51-62. Italian in Allesandro Conti (ed) Sul Restauro, Torino (Einaudi), 1998.

Comment on Kenneth Adams, `Realism in Painting’, Discovery, July, pp. 47-48.

Introduction to Kokoschka, Retrospective Exhibition … by the Arts Council of Great Britain, Tate Gallery, Sept.-Nov., pp. 10-15. Reprinted as Introduction to Catalogue of Exhibition at Marlborough-Gerson Gallery, New York, October-November 1966.

Foreword to Karel Vogel: Sculpture, a retrospective exhibition, 2 pp. South London Art Gallery, Camberwell, November-December; and Midland Area Museum Service.

1963

Meditations on a Hobby Horse and other essays on the theory of art, 184 pp., 68 pl., London.

Meditations on a Hobby Horse or the Roots of Artistic Form (1951) – Visual Metaphors of Value in Art (1954) – Psychoanalysis and the History of art (1954) – On Physiognomic Perception (1962) – Expression and Communication, (1962) – Achievement in Medieval Art (translation of “Wertprobleme und mittelalterliche Kunst” 1937) – André Malraux and the Crisis of Expressionism (1954) – The Social History of Art (review of A. Hauser, 1953) – Tradition and Expression in Western Still Life (review of C. Sterling 1961) – Art and Scholarship (1957) – Imagery and Art in the Romantic Period (review of D. George, 1949) – The Cartoonist’s Armoury (1963) – The Vogue of Abstract Art (The Tyranny of Abstract Art 1958) – Illusion and Visual Deadlock: (How to Read a Painting 1961).

Translations:

French, 1986. German, (with a new preface) Vienna 1973; Stuttgart 1978; Suhrkamp taschenbuch 1978. Italian, Turin 1971. Spanish, Barcelona 1968. Title essay in Hebrew, 1985.

The Cartoonist’s Armoury, South Atlantic Quarterly, 62, pp. 189-223. Reprinted in Meditations on a Hobby Horse, 1963.

Translation:

German in G. Langemeyer, Karikatur als Waffe, Münich 1984

Controversial Methods and methods of controversy, Burlington Magazine, 105, pp. 90-93.

A Grillparzer Anecdote, German Life and Letters, 16, pp. 209-211.

An Interpretation of Mantegna’s “Parnassus”, Journal of the Warburg and Courtauld Institutes, 26, pp. 196-198. Reprinted in Symbolic Images, 1972.

Mannerism: The historiographic background, Studies in Western Art. (Acts of the 20th international Congress of the history of art), Vol. 2, pp. 163-73. Reprinted in Norm and Form, 1966.

Norma e forma, Filosofia, 14, pp. 445-64; also as Quaderni della “Biblioteca filosofica di Torino”, 6.

Translations:

English in Norm and Form, 1966. German in Dieter Heinrich & Wolfgang Iser (eds.), Theorien der Kunst, Frankfurt 1982.

The Style “all `antica”: Imitation and Assimilation, Studies in Western Art. (Acts of the 20th international Congress of the history of art), vol. 2, pp. 31-41. Reprinted in Norm and Form, 1966.

Review:

F. Haskell, Patrons and Painters, London. The Observer, 23 June. Reprinted in Reflections on the History of Art, 1987.

1964

Exhibitionship, The Atlantic, 213, pp. 77-78.

Light, form and texture in 15th century painting, Journal of the Royal Society for the Encouragement of Arts, Manufactures and Commerce, 112, pp. 826-849. Reprinted in W.E. Kleinbauer (ed.) Modern Perspectives in Western Art History, New York, 1971; (revised) in The Heritage of Apelles, 1976.

Translation:

French in VRBI IX 1984, pp. xii-xxxv.

Moment and movement in art, Journal of the Warburg and Courtauld Institutes, 27, pp. 293-306. Reprinted in The Image and the Eye, 1982 and P.T. Londsberg, The Enigma of Time, Bristol 1982.

Tradition and the New Art: Broadcast Discussion with Frank Kermode, Partisan Review, Spring, pp. 241-252.

Reviews:

F.B. Artz, From the Renaissance to Romanticism, Chicago. History, 49, pp. 130-132.

Kunstgeschichte und Kunsttheorie im 19. Jahrhundert (Probleme der Kunstwissenschaft, 1), Berlin. Art Bulletin, 46, pp. 418-420.

Thomas Munro, Evolution in the Arts and other Theories of Culture History, 1963. British Journal of Aesthetics, 4, pp. 263-270.

Obituary (unsigned): Gertrud Bing, The Times, 6 July.

1965

The Beauty of old towns, Architectural Association Journal, April, 5pp. Reprinted in Reflections on the History of Art, 1987.

Winston Churchill as Painter and Critic, The Atlantic, 215, pp. 90-93.

The Use of Art for the Study of Symbols, American Psychologist, 20, pp. 34-50. Reprinted in J. Hogg (ed.) Psychology and the Visual Arts, Harmondsworth 1969.

Translations:

French in L’Information d’Histoire de l’Art, V, 4, September-October 1970. German (revised) in H. Bauer et al, (eds.), Wandlungen des Paradiesischen und Utopischen (Probleme der Kunstwissenschaft 2), Berlin 1966. Italian, E.H. Gombrich, Freud e la Psicologia dell’ Arte, Turin 1967. Spanish, E.H. Gombrich, Freud y la Psicología del Arte, Barcelona 1971.

Visual Discovery through art, Arts Magazine, November, pp. 17-28. Reprinted in J. Hogg (ed.) Psychology and the Visual Arts, Harmondsworth 1969, and The Image and the Eye, 1982.

Translations:

French, 1983. Serbocroat: Razprave Problemi, February/March 1971. Spanish, Barcelona 1975.

Introduction to S. Kruckenhauser, Heritage of Beauty, Architecture and Sculpture in Austria, London, pp. 7-14.

Review:

C. Pedretti, Leonardi da Vinci on Painting: a Lost Book (Libro A); Sigmund Freud, Leonardo da Vinci and a Memory of his Childhood. The New York Review of Books, 11 February, pp. 3-4. Reprinted in Reflections on the History of Art, 1987.

Gertrud Bing, 1892-1964, in Gertrud Bing in Memoriam, The Warburg Institute, pp. 1-3.

Gertrud Bing zum Gedenken, Jahrbuch der Hamburger Kunstsammlungen, 10, pp. 7-12.

1966

Norm and Form. Studies in the Art of the Renaissance, I, London, 167 pp., 186 ill.; 2nd. ed., VIII, 308 pp., 1971.

The Renaissance Conception of Artistic Progress and its Consequences (1958) – Apollonio di Giovanni: A Florentine Casone Workshop seen through the eyes of a Humanist Poet (1955) – Renaissance and Golden Age (1961) – The Early Medici as Patron of Art (1960) – Leonardo’s method for working out compositions (Conseils de Léonard sur les esquisses de tableaux, 1954) – Raphael’s Madonna della Sedia (1956) – Norm and Form (Norma e forma, 1963) – The Renaissance Theory of Art and the Rise of Landscape ( Renaisssance Artistic Theory and the Development of Landscape Painting (1953) – The style all’ Antica: Imitation and Assimilation (1963) -Reynolds’s Theory and Practice of Imitation (1942).

Translations:

Italian, Turin 1972. Portuguese, 1990. Spanish, 1984.

The Debate on primitivism in ancient rhetoric, Journal of the Warburg & Courtauld Institutes, 29, pp. 24-37.

Freud’s Aesthetics, Encounter, 26, pp. 30-40. Reprinted in Reflections on the History of Art, 1987.

Translations:

French in Preuves, April 1969. German in Literatur und Kritik, November 1967. Greek in Epoches, 1966. Italian in Tempo Presente, February 1966, also in E.H. Gombrich, Freud e la Psicologia dell’ Arte, Turin 1967. Spanish in E.H. Gombrich, Freud y la Psicología del Arte, Barcelona 1971.

Einige Erinnerungen am Adolf Busch, in: In Memoriam Adolf Busch, Dahlbruch (Brüder-Busch-Gesellschaft), pp. 34-36.

Ritualized Gesture and expression in art, Philosophical Transactions of the Royal Society of London, Series B: Biological Sciences, No 772, Vol. 251, pp. 393-401. Reprinted in The Image and the Eye, 1982.

Aby Warburg, 1866-1929, Neue Zürcher Zeitung, 11 December.

Warburg Insititute Lecture: Aby Warburg. Reprinted in Dieter Wuttke (ed.) Ansgewählte Schriften und Würdigungen, pp. 465-477. Second Edition 1980.

Aby Warburg zum Gedenken. Festansprache vom 13. Juni 1966 in der Universität Hamburg zum Gedächtnis an Aby Warburgs 100. Geburtstag, Jahrbuch der Hamburger Kunstsammlungen, 11, pp. 15-27. Reprinted in Tributes, 1988.

Reviews:

H. Berve & G. Gruben, Greek Temples, Theatres and Shrines; R. Lullies, Greek Sculpture; E. Langlotz, Ancient Greek Sculpture of South Italy and Sicily; P.E. Arias, A History of 1000 Years of Greek Vase Painting; S. Marinatos, Crete and Mycenae; G.M.A. Richter, The Portraits of the Greeks; J.V. Noble, The Techniques of Painted Attic Pottery. The New York Review of Books, 6 January, pp. 3-4. Reprinted in Reflections on the History of Art, 1987.

Draper Hill, Mr Gillray, the Caricaturist and John Physick, The Duke of Wellington in Caricaturist, London. Burlington Magazine, 108, pp. 206-207.

M. Peckham, Man’s Rage for Chaos. The New York Review of Books, 23 June, pp. 3-4. Reprinted in B. Bergonzi (ed.), Innovations, London 1968 and in Reflections on the History of Art, 1987.

Cornelius Vermeule, European Art and the Classical Past, Cambridge, Mass. Journal of Roman Studies, 56, pp. 259-260.

1967

Celebrations in Venice of the Holy League and of the Victory of Lepanto, Studies in Renaissance and Baroque art presented to Anthony Blunt, pp. 62-68.

The earliest Description of Bosch’s “Garden of Delight”, Journal of the Warburg and Courtauld Institutes, 30, pp. 403-406. Reprinted in The Heritage of Apelles, 1976. Translation:

French in 1983.

From the Revival of letters to the reform of the arts: Niccolò Niccoli and Filippo Brunelleschi, D. Fraser et al. (eds.) , Essays in the History of Art presented to Rudolf Wittkower, pp. 71-82. Reprinted in The Heritage of Apelles, 1976. French translation 1983.

Zur Psychologie des Bilderlesens, Röntgenblätter, 20 February, pp. 50-56.

Introduction (Italian) to E. Kris, Ricerche psicoanalitiche sull’ arte, Turin, pp. XIII-XXVI. Reprinted (translated and revised) in Tributes, 1984.

Reviews:

Graham Reynolds, Victorian Painting; Raymond Lister, Victorian Narrative Paintings. The New York Review of Books, 13 July, pp. 3-5. Reprinted in Reflections on the History of Art, 1987.

C. de Tolnay, Hieronymus Bosch. The New York Review of Books, 23 February, pp. 3-4.

1968

The Leaven of criticism in Renaissance art, C.S. Singleton (ed.), Art, Science and History in the Renaissance, pp. 3-42. Reprinted in The Heritage of Apelles, 1976.

Methodfragen der Symbolforschung, Das Münster, 21, p. 57.

Should a museum be active? Museum, 21, pp. 79-86. Reprinted in Reflections on the History of Art, 1987. Also Japanese translation.

Style, International Encyclopedia of the Social Sciences, vol. 15, 352-361.

Translation:

German in Peter Pot and Sándor Radnoti, (ed.) Stilepoche, Theorie und Diskusion, Peter Lang, Frankfurt 1990, pp. 619-638.

Review:

Erich Kahler, The disintegration of form in the arts; J. J. Sweeney, Vision and Image. The New York Review of Books, 1 February, pp. 5-8. Reprinted in Reflections on the History of Art, 1987.

Jakob Rosenberg, On Quality in Art. The New York Review of Books, 20 June, pp. 3-4. Reprinted in Reflections on the History of Art, 1987.

V.P. Zubov, Leonardo da Vinci, New York Review of Books, 5 December, pp. 4-8. Reprinted in Reflections on the History of Art, 1987.

Obituary: Erwin Panofsky, Burlington Magazine, 110, pp. 356-360.

1969

In Search of Cultural History, The Philip Maurice Deneke Lecture, Oxford, 55 pp. Reprinted in Ideals and Idols, 1979.

Translation:

Catalan, Barcelona 1974. French (Gerard Montfort), Paris 1992. Polish in J. Bialostocki (ed.) Pojecia, Problemy, Metody Wspolczesnej nanki o sztuce Warsaw 1975. Spanish in Tras la Historia de la Cultura, Barcelona 1977.

Bosch’s “Garden of Earthly Delights”. A progress report, Journal of the Warburg and Courtauld Institutes, 32, pp. 162-170. Reprinted in The Heritage of Apelles. 1976, French, 1983.

The Evidence of images:

I. The variability of Vision;

II. The priority of context over Expression, in C.S. Singleton (ed.), Interpretation, Theory and practice, pp. 35-104.

The Form of movement in water and air, in C. D. O’Malley (ed.), Leonardo’s Legacy. An international symposium, pp. 171-204. Reprinted in The Heritage of Apelles, 1976, French, 1983.

Geschichte des Nachlebens der Antike (Österreichische Gelehrte im Ausland), Österreichische Hochschulzeitung, 1 June, p. 5.

Review:

M. Meiss, The Great Age of Fresco. The New York Review of Books, 19 June, pp. 8-13. Reprinted in Reflections on the History of Art, 1987.

1970

Aby Warburg, an intellectual biography. With a memoir on the history of the library by F(ritz) Saxl. London, VI, 376 pp., 65 pls. 2nd edition Oxford 1986.

Myth and reality in German war-time broadcasts, The Creighton lecture in history. London, 28 pp. Reprinted in Ideals and Idols, 1979.

Art and self-transcendence, in A. Tiselius et al. (ed.), The Place of Value in a World of Facts (Nobel Symposium 14) Stockholm, pp. 125-133. Reprinted in Ideals and Idols, 1979.

Criteria of periodization in the history of European art. 3: (A Comment on H. W. Janson’s article), New Literary History, 1, pp. 123-125.

Introduction to Gerhart Frankl: Exhibition of Paintings and Works of Paper, London, Arts Council, Hayward Gallery, 2 pp. Reprinted, in a German translation, in Gerhart Frankl, Salzburg 1990, pp. 9-14.

Introduction to H. Honour and J. Fleming (eds.), A Heritage of Images. A selection of Lectures by Fritz Saxl, Harmondsworth, Middx., pp. 9-12.

Review:

A. Bredius, Rembrandt; H. Gerson, Rembrandt: Paintings; J. E. Muller, Rembrandt; J. Rosenberg, Rembrandt; C. White, Rembrandt as an Etcher; M. Kitson, Rembrandt; B. Haak, Rembrandt; R. H. Fuchs, Rembrandt in Amsterdam; J. Held, Rembrandt’s `Aristotle’ and other Rembrandt Studies. The New York Review of Books, 12 March, pp. 6-16. Reprinted in Reflections on the History of Art, 1987.

1971

Ideas of Progress and their Impact on Art,

I. From Classicism to Primitivism;

II. From Romanticism to Modernism, New York, Cooper Union, The Mary Duke Biddle Lectures, 89 pp. Privately circulated.

Translation:

French, Paris 1983. German, Cologne 1978; 2nd edn. 1987. Italian, Bari 1985.

Reply to James J. Gibson: On information available in pictures, Leonardo, 4, pp. 195-197, 308.

Personification, in R.R. Bolgar (ed.), Classical influences on European culture, A.D. 500-1500, pp. 247-57.

The State of Art History: A plea for pluralism, American Art Journal, 3, pp. 83-7. Reprinted in Ideals and Idols, 1979.

Vom Ethos in der bildenden Kunst: Gedanken zum 70.

Geburtstag Maz Hunzikers, Neue Zürcher Zeitung, 5 March, p. 33.

Introduction to Kokoschka, exhibition of prints and drawings lent by Reinhold, Count Bethusy-Huc, Victoria and Albert Museum, London, pp. 6-9.

1972

Symbolic Images. Studies in the Art of the Renaissance, 2, London, 247 pp., 170 ill.

Introduction: Aims and Limits of Iconology – Tobias and the Angel (1948) – Botticelli’s Mythologies, a study in the Neoplatonic Symbolism of his Circle (with a new preface and appendix, 1945) – An Interpretation of Mantegna’s “Parnassus” (1963) – Rapael’s Stanza della Segnatura and the nature of its symbolism – Hypnerotomachiana (expanded, 1951) – The Sala dei Venti in the Palazzo del Te (1950) – The Subject of Poussin’s Orion (1944) – Icones Symbolicae: Philosophies of symbolism and their bearing on art (revised and expanded from Icones Symbolicae, the visual Image in Neo-platonic thought, 1948).

Translation: Italian, Turin 1978.

Action and expresion in Western art, in R.A. Hinde (ed.), Non-verbal communication, Cambridge, pp. 379-33. Reprinted in The Image and the Eye, 1982.

The Mask and the Face: the perception of physiognomic likeness in life and in art, in E.H. Gombrich, Julian Hochberg, Max Black, Art, perception and reality, pp. 1-46. Reprinted in The Image and the Eye, 1982.

Translations: German, Stuttgart 1977. Italian, Turin 1978.

The Visual Image, Scientific American, 227, pp. 82-96. Reprinted in D.R. Olson (ed.), Media and Symbols, Chicago, 1974 and The Image and the Eye, 1982.

Translation:

German in K. Steinbuch (ed.) Kommunikation, Frankfurt, 1973.

The “What” and the “How”: Perspective Representation and the phenomenal World, in R. Rudner and I. Scheffler (eds.), Logic and Art: Essays in Honor of Nelson Goodman, New York, pp. 129-149.

The Achievement of Sir Karl Popper: Broadcast Discussion, in The Listener, 24 August, pp. 227-228.

Introduction to Max Hunziker, Malereien, Glasfenster, Helmhaus, Zürich, August-October, 4 pp.

Reviews:

Mario Praz, Mnemosyne: The Parallel between Literature and the Visual Arts. Burlington Magazine, 114, pp. 345-346.

M. Wenzel, House Decoration in Nubia; J.C. Faris, Nubia Personal Art; A. & M. Strathern, Self-Decoration in Mount Hagen; R. Rain & A. Polock, Bangwa Funerary Sculpture. The New York Review of Books, 4 May, pp. 35-38. Reprinted in Reflections on the History of Art, 1987.

1973

Dürer, Vives and Bruegel, in J. Bruyn et al. (eds.) Album Amicorum J. G. van Gelder, pp. 132-134. Reprinted in The Heritage of Apelles, 1976.

Huizinga’s “Homo ludens”, Bijdragen en Mededelingen betreffende de geschiedenis der Nederlanden, 88, pp. 275-96.Reprinted in W. R. H. Koops et al., Johan Huizinga, 1872-1972, The Hague, 1973, in the Times Literary Supplement, 4 October 1974 and in Tributes, 1984.

Illusion and Art, in R. Gregory and E. H. Gombrich (eds.) Illusion in Nature and Art, London, pp. 193-243.

Translation:

Italian in Dimensioni del Disegno, June 1987 and November 1987.

Research in the humanities: Ideals and idols, Daedalus, Spring, (The Search for Knowledge) pp. 1-10. Reprinted in Ideals and Idols, 1979.

The Concept of cultural History (Broadcast discussion with Peter Burke), The Listener, 27 December.

Commencement Address at the Curtis Institute of Music, Philadelphia, Pa. 5 pp. Privately circulated.

Review:

J. Rykwert, On Adam’s House in Paradise. The New York Review of Books, 29 November, pp. 35-37. Reprinted in Reflections on the History of Art, 1987.

1974

Die Ambraser Kunstsammlung und die Dichterin Lilly von Sauter, Das Fenster, Tiroler Kulturzeitschrift, 14, 1974/5, pp. 1538-1544.

Meditations on a Hobby Horse, separately designed and published by the Department of Graphic Design at the Norwich School of Art.

The Logic of Vanity Fair, Alternatives to Historicism in the study of Fashions, Style and Taste, in P. A. Schilpp (ed.), The Philosophy of Karl Popper, 2, La Salle, Ill., pp. 925-957. Reprinted in Ideals and Idols, 1979.

Translation:

Spanish in Tras la Historia de la Cultura, 1977.

The Renaissance – Period or Movement?, Background to the English Renaissance, London, pp. 9-30.

The Sky is the Limit: the Vaulty of Heaven and Pictorial Vision, in Robert B. Macleod and Herbert L. Pick Jr. (eds.), Perception. Essays in Honor of James J. Gibson, Ithaca, N. Y., pp. 84-94. Reprinted in The Image and the Eye, 1982.

Topos and Topicality in Renaissance Art, Annual Lecture, privately circulated by the Society for Renaissance Studies, London, 18 pp.

La Vergine di Bruges, Video, La Rivista della Televisione, Nov. pp. 29-30.

Introduction to Exhibition Catalogue, Oliver Bevan, Polaroid Light Boxes, J.P. Lehmans Gallery, London.

Foreword to Heinrich Schäfer, Principles of Egyptian Art, Oxford, Clarendon Press, pp. ix-x.

1975

Art History and the Social Sciences, (The Romanes Lecture for 1973), Oxford, 60 pp., 4 pl. Reprinted in Ideals and Idols, 1979.

Translations:

Danish in Kunsthistorie og samfundsvidenskab, ed. & intro. by Lars-Aagaard-Mogensen, Humanistic, II, pp. 48; 2nd printing 1980; also in Hrymfaxe, Vol. 8, no. 2 (1978), pp. 1-48. Spanish in Tras la Historia de la Cultura, Barcelona 1978.

Kunstsalon Wolfsberg. Max Hunziker. Laudatio, at the conferment of the Auszeichnung für kulturelle Verdienste on the artist by the City of Zürich, 25 August, 17 pp.

Impara l’arte (La crisi dei musei), Bolaffiarte, p. 6.

Mirror and Map: theories of pictorial representation (Review Lecture), Philosophical Transactions of the Royal Society of London, B. Biological Sciences, Vol. 270, Number 903, pp. 119-149. Reprinted in The Image and the Eye, 1982.

Translation: in Omar Calabrese (ed.) Semiotica della Pittura, Milan 1980.

Reflections on Anna Mahler’s Oeuvre, introduction to Anna Mahler. Her Work, London, pp. 5-8. Also in German, Stuttgart, 1975.

1976

The Heritage of Apelles, Studies in the Art of the Renaissance, 3, Oxford, 250 pp, 244 ill.

Preface – Light and Highlights: The Heritage of Apelles; Light, Form and Texture in Fifteenth Century Painting North and South of the Alps (1964) (revised) – Leonardo da Vinci’s Method of Analysis and Permutation: The Form of Movement in Water and Air (1969) – The Grotesque Heads (1954) – Jerome Bosch’s “Garden of Earthly Delights”: The Earliest Description of the Triptych (1967) – “As it was in the Days of Noe” (1969, under the title “A Progress Report”) – Classical Rules and Rational Standards: From the Revival of Letters to the Reform of the Arts: Niccolò Niccoli and Filippo Brunelleschi (1967) – The Leaven of Criticism in Renaissance Art (1968) – The Pride of Apelles: Vives, Dürer and Brueghel (1973).

Translations:

German, Stuttgart 1987. Italian, 1986. Rumanian, Bucharest 1981. Spanish, Madrid 1992.

Means and Ends, Reflections on the History of Fresco Painting, The Walter Neurath Memorial Lecture, 72 pp, 44 ill., London. Translations:

French, Paris 1988. Japanese, Tokyo 1988. Russian, Moscow 1982.

Bonventura Berlinghieri’s Palmettes, Journal of the Warburg and Courtauld Institutes, 39, pp. 234-236.

Canons and Values in the Visual Arts: A Correspondence between E. H. Gombrich and Quentin Bell, Critical Inquiry, 2, pp. 393-410. Reprinted in Ideals and Idols, 1979.

Erasmus Prize acceptance speech, Semiolus, 8, 1975/1976, 2, pp. 47-48. Reprinted in Ideals and Idols, 1979.

Introduction to Homage to Kokoschka, Prints and Drawings lent by Reinhold, Count Bethusy-Huc. Exhibition at the Victoria and Albert Museum, London, pp. 5-9.

Malraux’s Philosophy of Art in Historical Perspective, in Martine de Courcel (ed.) Malraux, Life and Work, London, pp. 19-183.

Translation: French, in Martine de Courcel (ed.) Malraux, Etre et Dire, Paris.

Review:

Francis Haskell, Rediscoveries in Art. The Times Literary Supplement, 27th Feb., pp. 210-211. Reprinted in Reflections on the History of Art, 1987.

Obituary:

Otto Kurz, Burlington Magazine, 118, pp. 29-30. Reprinted as preface to Otto Kurz, The Decorative Arts of Europe. The Islamic East. Also, Otto Kurz, Mitteilungen des Österreichischen Instituts für Geschichtsforschung.

1977

Hegel und die Kunstgeschichte, Neue Rundschau, 88, 2. pp 202-219 also (abbreviated) in Hans Mayer zum 19 Marz 1977, Stuttgart, and Hegel-Preis-Reden 1977, Stuttgart. Reprinted in Gedanken und Gewissen ed. G. Busch and J.H. Freund, Frankfurt 1986, pp. 485-525.

Translation:

English, Architectural Review 51, 6/7, 1981. Reprinted in Tributes, 1984 and in Peters Abbs (ed.), The Symbolic Order, The Falmer Press 1989, pp. 89-103.

The Unrepentant Humanist, Cornell Review, 1, pp. 55-67.

The Museum: Past, Present and Future, Critical Inquiry 3, pp. 449-470, reprinted in Ideals and Idols, 1979 and in Lars Aagaard-Mogensen, ed., The Idea of the Museum, Philosophical, Artistic and Political Questions, The Edwin Mellen Press, Lewiston/Queenston/Lampeter, pp. 99-126.

Baccalaureate Address, University of Pennsylvania, The Pennsylvania Gazette, October, pp. 31-33.

Review:

Leo Steinberg, Michelangelo’s Last Paintings: The Conversion of St. Paul and Crucifixion of St. Peter in the Cappella Paolina, Vatican Palace. The New York Review of Books, XXIII, 21/22, pp. 17-20. Reprinted in Reflections on the History of Art, 1987.

Translation:

Danish, Kunst og Billedssprog: Reason and Emotion (1975) – Meditations on a Hobby Horse (1951) – Art and the Language of the Emotions (1962) – review of Charles Morris (1949) – The Visual Image (1972) – Style (1968) – Art and Self-Transcendence (1970) – Hegel and Art History (1977) – Review of Arnold Hauser (1953) – The Renaissance Concept of Artistic Progress (1955) – The Pride of Apelles (1973) – Durer, Vives and Breughel (1973) – The Experiment of Caricature (Ch. 10 of Art and Illusion, 1960) – The Vogue of Abstract Art (1956) – Should a Museum be Active? (1968) – A Plea for Pluralism (1971).

1978

Introduction to Henri Cartier-Bresson, A Scottish Arts Council Exhibition arranged in association with the Victoria and Albert Museum, pp. 5-10. Reprinted in Topics of our Time, 1991.

On Interpreting Pictorial Art, a Comment, Leonardo, p. 174.

Introduction to Exhibition Catalogue, L’Altro Occhio di Polifemo, Galleria d’Arte Moderna, Bologna, pp. 18, 19.

Rhetorique de l’Attribution (Reductio ad Absurdum), Revue de l’Art 42, October, pp. 23-25; reprinted in the French edition of Reflections on the History of Art, 1992. English version in Reflections on the History of Art, 1987.

Interview with Angelo Schwarz, Il Diaframma (Fotografia Italiana), pp. 31-33. Reprinted in Angelo Schwarz, Trenta Voci Sulla Fotografia, Torino 1983, pp. 133-138.

A Historical Hypothesis in: T. F Rugh and E. R. Silva (eds.) History as a Tool in Critical Interpretation, a symposium, Provo, Utah, pp. 39-42.

Kunst und Fortschritt, Wirkung und Wandlung einer Idee. (see: The Ideas of Progress and their Impact on Art, 1971) with E. H. G.’s Bibliography 1930-1978.

Translations:

Italian, Bari 1985. Hungarian, Budapest 1987.

Reviews:

PP Rubens: Paintings, Oil Sketches and Drawings, Royal Museum of Fine Arts, Antwerp. Frans Baudouin, PP Rubens. Keith Roberts, Rubens. Michael Jaffe, Rubens and Italy. John Rowlands, Rubens, Drawings and Sketches. The New York Review of Books, 25, 3, pp. 6-10. Reprinted in Reflections on the History of Art, 1987.

Moshe Barasch Gestures of Despair. The Burlington Magazine, 110. Reprinted in Reflections on the History of Art, 1987.

1979

The Sense of Order, A Study in the Psychology of Decorative Art, The Wrightsman Lectures, Oxford, 411 pp., 89 pl.

Translation:

Chinese (with new introduction), 1987. German (Klett Cotta), Stuttgart 1982. Italian (Einaudi), Torino 1984. Japanese, 1989. Spanish (Edicion Castellana), Barcelona 1980.

Giotto’s Portrait of Dante? The Burlington Magazine Sixth Annual Lecture, The Burlington Magazine CXXI No 917 Aug 79, pp. 461-483.

The Dream of Reason: Symbolism in the The French Revolution, The British Journal for Eighteenth Century Studies, Autumn, pp. 187-205.

Ideals and Idols, Essays on Values in History and in Art, Oxford, 224 pp., 10 pl.

The Tradition of General Knowledge (1962) – In Search of Cultural History (1969) – The Logic of Vanity Fair (1974) – Myth and Reality in German Wartime Broadcasts (1970) – Research in the Humanities: Ideals and Idols (1973) – Art and Self-Transcendence (1970) – Art History and the Social Sciences (1975) – Canons and Values in the Visual Arts: A Correspondence with Quentin Bell (1976) – A Plea for Pluralism (1971) – The Museum: Past, Present and Future (1977) – Reason and Feeling in the Study of Art (Erasmus Prize Lecture) (1975).

The Primitive and its Value in Art, (Broadcast, BBC) Published in: The Listener, 15th and 22nd Feb, 1st and 8th March. 1. The Dread of Corruption, pp. 242-245. -2. The Turn of the Tide, pp. 279-281. -3. The Priority of Pattern, pp. 311-314. -4. The Tree of Knowledge, pp. 347-350.

A Preface to Legend, Myth and Magic in the Image of the Artist (A Historical Experiment). Ernst Kris and Otto Kurz, Newhaven and London.

Translation: German, Die Legende von Künstler, Suhrkamp, Frankfurt 1980. Italian, La Leggenda dell’Artista, Torino 1980.

In a Semiotic Landscape – Panorama Semiotique. Proceedings of the First Congress of the International Association for Semiotic Studies, Milan 1974. Mouton Publishers, Berlin, ca. summer.

Response to J. S. Ackerman on `Judging Art without Absolutes’, Critical Inquiry, Vol. 5, No. 4, pp. 794-795.

Response to J. J. Gibson, Leonardo, vol. 12, pp. 174-175.

Exchange with Henry Zerner on `The Sense of Order’. The New York Review of Books, September 27, Vol. XXVI, No. 14, pp. 60-61.

Translation
Kunst og billedsprog, Udvalgte essays, (Art and Pictorial Language, Selected Essays), ed. & intro by Lars Aagaard-Mogensen, Nyt Nordisk Forlag Arnold Busck, Copenhagen, (ISBN 87-17-02278-9), pp. 226. Translated into Danish by Dr. Else Mogensen.

“Head and Heart” (1976), “Meditation on a Hobby Horse or the Roots of Artistic Form” (1951), “Expression and Communication” (1962), “Charles Morris Signs, Language and Behavior”  (1949), “The Visual Image” (1972), “Style” (1968), “Art and Self-Transcendence” (1970), “Hegel und die Kunstgeschichte” (1977), “The Social History of Art” (1953), “The Renaissance Conception of Artistic Progress and its Consequences” (1952), “The Pride of Apelles: Vives, Dürer and Bruegel” (1976), “The Experiment of Caricature” (1977), “Reflections on Anna Mahler’s Oeuvre” (1975), “The Vogue of Abstract Art” (1956), “Should a Museum be Active?” (1968), “A Plea for Pluralism” (1971).

1980

Franz Schubert e la Vienna del suo tempo, lecture of 7 December 1978, privately circulated by Musicus Concentus, Firenze, pp. 3-17, 14 ill.

English (revised) The Yale Literary Magazine, Vol. 149, No. 4, February 1982, pp. 15-36.

Experiment and Experience in the Arts, Proceedings of the Royal Institution of Great Britain, Vol. 52, pp. 113-114. Reprinted in The Image and the Eye, 1982.

Four Theories of Artistic Expression, Architectural Association Quarterly, Vol. 12, No. 4, pp. 14-19.

Standards of Truth: The Arrested Image and the Moving Eye, The Language of Images, ed. WJT Mitchell, University of Chicago Press, pp. 181-218. Reprinted in Critical Inquiry, Vol, 7, No. 2, winter 1980, pp. 237-273. Reprinted in The Image and the Eye, 1982.

Structure in Science and Art, (eds. Sir Peter Medawar and JH Shelley), Proceedings of the Third CH Boehringer Sohn Symposium, held at Kronberg, Taurus, 2-5 May, 1979.

Tribute to IA Richards, PN Review, 16, Vol 7, no. II, p. 31.

Oskar Kokoschka, Gedenkworte, spoken 3 June, 1980 in Das Parlament, 19-26 July, p. 18. Reprinted in Jahrbuch der Hamburger Kunstsammlungen and Order Pour le Mérite: Reden und Gedenworte XVI, 1980.

Translation:

English in Orbis Pictus, The Prints of Oskar Kokoschka, Santa Barabara Museum of Art 1987.

Review:

Michael Sullivan, Symbols of Eternity: The Art of Landscape Painting in China, Times Literary Supplement, 5 September. Reprinted in Reflections on the History of Art, 1987.

Egon Verheyen, The Palazzo del Te in Mantua. The Burlington Magazine, 112, pp. 70-71.

1981

Nature and Art as needs of the mind, the Fourth Leverhulme Memorial Lecture, Liverpool University Press, 24 pp, delivered 23 February, 1981 in the University of Liverpool. Reprinted in Tributes, 1984.

The Ecclesiastical Significance of Raphael’s Transfiguration, ARS AURO PRIOR, Studia Ioanni Bia_ostock, sexagenario dedicata, Warsaw, pp. 241-243.

Sigmund Freud und die Theorie der Künste, Festvortrag zum 125 Geburtstag, Sigmund Freud House Bulletin, Vol. 5, No. 1 Vienna, pp. 11-25. Translated in Tributes, 1984. Reprinted (revised) in H. Leopold-Löwenthal and Inge Scholz-Strassen (eds.) Die Sigmund Freud- Voalesungen 1970-1988, Vienna 1990, pp. 113-133.

Image and Code: Scope and Limits of Conventionalism in Pictorial Representation, in Image and Code, Ed. Wendy Steiner, (Michigan Studies in the Humanities) University of Michigan. Reprinted (revised) in The Image and the Eye, 1982.

“That rare Italian Master….” Giulio Romano, Court Architect, Painter and Impressario, The Splendours of the Gonzaga, catalogue, Eds. David Chambers and Jane Martineau, exhibition, Victoria and Albert Museum, London, pp. 76-85. Reprinted in New Light on Old Masters, 1986.

George Boas, Journal of the History of Ideas, pp. 335-354 (also in separate binding with the portrait of George Boas). Reprinted in Tributes, 1984.

Otto Kurz, Proceedings of the British Academy for 1979, pp. 719-735. Reprinted in Otto Kurz, Selected Studies, Vol. II, 1982 and in Tributes, 1984.

Order and Tolerance, Statements on the Relationship between the Natural Sciences and the Visual Fine Arts, Leonardo, Vol. 14, No. 2, p. 147.

Aby Warburg in Dizionario Enciclopedico, Casa Editrice Scode), Milan.

Review:

The Wild Man in Medieval Myth and Symbolism, catalogue of an exhibition at the Cloisters, (The Metropolitan Museum of Art). The Burlington Magazine, January. Reprinted in Reflections on the History of Art, 1987.

Francis Haskell and Nicholas Penny, Taste and the Antique: The Lure of Classical Sculpture 1500-1900. The London Review of Books, Vol. 3, No. 20, 5-18 November. Reprinted in London Review of Books, Anthology Two (preface by Michael Mason), 1982 and Reflections on the History of Art, 1987.

Letters:

On the Review by DR Topper of The Sense of Order, Leonardo, Vol. 14, No. 1, p. 88.

1982

The Image and the Eye, Further Studies in the Psychology of Pictorial Representation, Oxford, 320 pp. 253 ill. Visual Discovery through Art (1965) – Moment and Movement in Art (1964) – Ritualized Gesture and Expression in Art (1966) – Action and Expression in Western Art (1972) – The Mask and the Face: The Perception of Physiognomic Likeness in Life and in Art (1972) – The Visual Image (1972) – `The Sky is the Limit': The Vault of the Heaven and Pictorial Vision (1974) – Mirror and Map: Theories of Pictorial Representation (1975) – Experiment and Experience in the Arts (1980) – Standards of Truth: The Arrested Image and the Moving Eye (1980) – Image and Code: Scope and Limites of Conventionalism in Pictorial Representation (1981).

Translations:

German, Stuttgart 1984. Italian, Torino 1985. Spanish, Madrid 1987.

Focus on the Arts and Humanities, Bicentennial address, 15 May, 1981, Bulletin, The American Academy of Arts and Sciences, Vol. XXV, No. 4, January, pp. 5-24. Reprinted in Tributes, 1984.

Frances A. Yates (1899-1981) in Frances A. Yates in Memoriam, The Warburg Institute, pp. 13-22. Reprinted in The New York Review of Books, XXX, 3, March 3, 1983, 11-13 and in Tributes, 1984.

The Trattato della Pittura, Some Questions and Desiderata, Leonardo e L’età della Ragione, Eds. Enrico Bellone and Paolo Rossi, Milan, Scienta, pp.141-154 (English), pp. 159-169 (Italian), 13 illus.

Spreading a Knowledge of Art, Il liguaggio della devulgazione, Atti del Convegno 11-12 February, 1982, Selezione dal Reader’s Digest, Milan, pp. 228-233 (English), pp. 234-237 (Italian).

What I Learned from Karl Popper, (Interview with the editor) Paul Levinson (Ed) in In Pursuit of Truth, pp. 203-220.

Review:

Goethe on Art, selected and translated by John Gage, London, 1980, and The Younger Goethe and the Visual Arts, by WD Robson-Scott, Cambridge, 1981. Art History, vol. 5, No. 2, June, pp. 237-242.

Leonardo da Vinci, by Martin Kemp, London, 1981. Times Literary Supplement, January 15, pp. 43-44. Reprinted in Reflections on the History of Art, 1987.

“The Rare Art Traditions” by Joseph Alsop, Princeton University Press/Bollingen. The New York Review of Books, Vol. XXIX, no 19, December 2, pp. 39-42. Reprinted in Reflections on the History of Art, 1987.

Translation:

German in Freibeuter, 16, 1983, pp. 135-145.

Foreword (in German), Joseph Bodonyi, “Entstehung und Bedeutung des Goldgrundes in der spätantiken Gemäldekomposition”, Mittenwald.

Otto Kurz, Neue Deutsche Biographie, 13 pp. 336-7

1983

L’Ecologie des Images, Paris, Flammarion, pp. 5-434, ill. 219, transle. Alain Lévêque. Le sujet de l’Orion de Poussin (1944) – La théorie artistique de la Renaissance et l’art du paysage (1953) – La psychanalyse et l’histoire de l’art (1953) – La découverte du visual par le moyen de l’art (1965) – De la Renaissance des lettres à la réforme des arts: Niccole Niccoli et Filippo Brunelleschi (1967) – Le Jardin des Délices de Jérôme Bosch (1967) – Les formes en mouvement de l’eau et de l’air dans les carnets de Léonard de Vinci (1968) – Les idées de progrès et leur répercussion dans l’art (1971) – L’action et l’expression dans l’art occidental (1972) – L’image visuelle (1972) – La logique du jeu de la mode (1974) – L’histoire de l’art et les sciences sociales (1975) – Discours de réception du prix Erasme (1975).

2nd, (illustrated) preface to the new Japanese edition of “The Story of Art”, Bijutsu Shjuppan-sha, Tokio.

Ideal und Typus in der italienischen Renaissancemalerei, (Gerda Kenkel Vorlesung), Westdeutcher Verlag, Opladen, pp. 24, 72 illus. English translation in New Light on Old Masters, 1986.

Warum Denkmalpfflege? First International Congress on Architectural Conservation, University of Basle, Switzerland, March 1983, pp. 21-26, printed by courtesy of the Heritage Trust, London.

Translations:

English and Spanish, Composicion Arquitectorica, (Bilbao), Feb 1989, pp. 115-138.

Raffaello: nel V Centerario della Nascita, Il Veltro, Risista della Civilta Italiana, 5-6, Anno XXVII, September-December, pp. 571-581. Unauthorised publication in 1984 and official publication in Accademie e Biblioteche d’Italia, LI, pp. 250-258.

Auge macht Bild, Ohr macht Klang, Hirn macht Welt, Franz Kreuzer im Gespräch mit Ernst H. Gombrich, etc., (ORF) Vienna, Frans Deuticke, pp. 7-37.

Psychological Aspects of the Visual Arts, in States of Mind, conversations with psychological investigators, ed. Jonathan Miller, B.B.C. Publications, London, pp. 212-231.

“Das Spiel mit den Dominosteinen” (Beim Schreiben) Neue Züricher Zeitung, Literatur und Kunst, June 24, p. 36. Reprinted in Gastspiele, 1992 and in Klett-Cotta, Das erste Jahrzeit, 1977-1987, pp. 270-273.

“Verachtet mir die Meister nicht! vom unerlässlichen Wert der Tradition für “jedes Künstleriche Schaffen”. Die Presse, Samstag/Sonntag 9/10 Juli, “Zeichen der Zeit”, Vienna.

Obituary of Kenneth Clark, The Royal Society of Literature, Reports, for 1981-1982 and 1982-1983, pp. 36-38.

Brief Tribute to Anna Freud in Anna Freud Remembered, ed. Maria W. Piers Erikson Institute, Chicage, p. 25.

Reviews:

Svetlana Alpers, The Art of Describing: Dutch Art in the 17th century: (Chicago 1983). The New York Review of Books, Vol. XXX, No. 17, November 10th, pp. 13-17. Reprinted in Reflections on the History of Art, 1987.

William H. Peck, Drawings from Ancient Egypt, (London 1978). The Journal of Egyptian Archaeology, Vol. 69, pp. 192-193.

Letter, Karl Popper, Times Literary Supplement, July 8, p. 729, (re TLS July 1).

Introduction to catalogue of La Serennisima by John Bratby, Thackeray Gallery, March-April.

1984

Tributes, Interpreters of our cultural tradition, Oxford 270 pp., 80 ill.

Focus on the Arts and Humanities, (1982) – The Diversity of the Arts, The Place of the Laocoon on the Life and Work of G.E. Lessing (1957) – The Father of Art History, A Reading of the Lectures on Aesthetics of G.W.F. Hegel (1977) – Nature and Art as Needs of the Mind, The Philanthropic Ideals of Lord Leverhulme (1981) – Verbal Wit as a Paradigm of Art, The Aesthetic Theories of Sigmund Freud (1981) – The Ambivalence of the Classical Tradition, The Cultural Psychology of Aby Warburg (1966) – The High Seriousness of Play, Reflections on Homo ludens by J. Huizinga (1973) – The History of Ideas, A Personal Tribute to George Boas (1981) – The Necessity of Tradition, An Interpretation of the Poetics of IA Richards (not previously published). The Evaluation of Esoteric Currents, A Commemoration of the Work of Frances A. Yates (1982) – The Study of Art and the Study of Man, Reminiscences of Collaboration with Ernst Kris (1967) – The Exploration of Culture Contacts, The Services to Scholarship of Otto Kurz (1981).

Letter, Edgar Wind, London Review of Books, vol. 6, number 6, 5th-18th April, p.4.

Raphael: a quincentennial address (translation of 1983), Art History, Vol 7, number 2, June 1984, pp 164-175.

The Wit of Saul Steinberg, Art Journal, Winter 1983, pp. 377-380. Reprinted in Topics of our Time, 1991.

The Story of Art, 14th ed. Supplement pp. 491-501 on New Discoveries.

Il Palazzo del Te, Riflescioni su un mezzo secolo di Fortuna Critica. Quaderni di Palazzo Te, Luglio-dicembre 1984, pp. 17-21. Translation: German in Zauber der Medusa (ed. Werner Hofmann), Exhition, Vienna, April-May 1987, pp. 22-31

Art History and Psychology in Vienna Fifty Years Ago, Art Journal, Summer, pp 162-164. A translation of: Kunstwissenschaft und Psychologie vor fünfzig Jahren, XXV Internationaler Kongress fuer Kunstgeschichte, Wien 4-10.9.1983, Bd. I, pp. 99-104, Wien 1984.

Representation and Misrepresentation (Reply to Murray Kreiger), Critical Inquiry, December 1984, Volume 11, 2, pp. 195-201.

The Warburg Institute and H.M. Office of Works, E.H. Gombrich in Memory of Frederic Raby (Text printed at the Friends’ Press, Fitzwilliam Museum Cambridge, December 1984).

1985

Eine Kurze Weltgeschichte für junge Leser, Cologne, 1985.

“Kunstwissenschaft und Psychologie vor fünfzig Jahren”, XXV Internationaler Kongress für Kunstgeschichte, Vienna, 4-10-9, 1933 Section I, pp. 99-104. Unauthorised reprint in Paul Kruntorad (ed.) A.E.I.O.U. Mythos Segenwort Der Osteriachisch Beitra. English in Art Journal, Summer 1984, Vol. 44, No. 2., pp. 162-164.

“The Embattled Humanities” (Address to The North of England Educational Conference, 3rd January 1985.) Culture Education & Society, (University Quarterly) Vol. 39, No. 3. Summer 1985, pp. 193-205. Reprinted in Topics of our Time, 1991.

“Image and Word in Twentieth-century Art” (Lecture at Solomon Guggenheim Museum, New York, October 1980) Word & Image, vol. 1, No. 3., July/Sept. 1985, pp. 213-241. Reprinted in Topics of our Time, 1991.

“The Symbol of the Veil: Psychological Reflections on Schiller’s Poetry”, Peregrine Horden (editor), Freud and the Humanities, London & New York, 1985. German in Gastspiele (1992)

Il gusto die primitivi, Memorie dell’ Istituto Italiano per gli Studi Filosofici, Naples, 1985.

Bibliographical notes to the Third Edition of Symbolic Images, p. ix-xii.

Bibliographical notes to the Fourth Edition of Norm and Form, pp. viii-xii.

Note to the Fourth Edition of Meditations on a Hobby Horse, p.x.

Preface to Giancarlo M.G. Scoditti, Kitawa, Iconografia e semantica in una Società Melanesiana, Milan 1985 (Franco Angeli Libri). Original English version published by Mouton de Gruyter, Berlin-New York, 1990.

Marie-Louise von Motesiczky: Introduction to the catalogue of her exhibition, Goethe Institute, London, 1985.

Acceptance speech for International Balzan Prize (German, French, Italian). Foundatione Internationale Balzan Premier, 1985, pp. 21-24.

Introduction to Wilheim Menning Als-ob-Art, Berlin (Gebr. Mann Verlag) 1985.

Review of Catalogue of Masters of Seventeenth-century Dutch Genre Painting, (ed. Peter C. Sutton) The New York Review of Books, June 13, 1985, XXXII, 10, pp. 20-22. Reprinted in Reflections on the History of Art, 1987.

Reneszánsz Tanulmányok (ed. Zádor Anna), Budapest 1985.

Leonardo’s methods for working out compositions (1954) – The form of movement in water and air (1969) – Raphael’s stanza della Segnatura and the Nature of its Symbolism (1972) – The Renaissance conception of artistic progress and its consequence (1952) – The Subject of Poussin’s Orion (1944) – Aby Warburg Zum Gedächtnis (1966).

(With Jill Tilden) Desert Island Objects: Prof. Sir Ernst Gombrich chooses, The V. & A. Album 4, 1985, pp. 214-252.

1986

“Sind eben alles Menschen gewesen”: Zum Kulturrelativismus in den Geisteswissenschaften, Akten des VII. Internationalen Germanisten-Kongresses Göttingen 1985, Vol. I, Ansprachen Plenarvorträge, pp. 17-28, Tübingen 1986.

Translations:

Italian (unauthorised), Mondoperaio, December 1986, pp. 70-76. English, Critical Inquiry, Summer 1987, Volume 13, Number 4, pp. 686-699; reprinted in Topics of our Time, 1991. French in Lettre Internationale, No 19, Winter 1988-1989, pp. 70-72. German in Gastpiele, 1992. Spanish in Atlántida, Vol 1, 3/1990, pp. 242-254.

Preface to Olive Renier and Vladimir Rubinstein, Assigned to Listen, published by the B.B.C. External Services; see also pp. 75-82

New Light on Old Masters. Studies in the Art of the Renaissance IV, Oxford and Chicago. 191pp., 157 ill.

Preface – Giotto’s Portrait of Dante? (1979) – Leonardo on the Science of Painting: Towards a Commentary on the `Trattato della Pittura’ (1982) revised. Leonardo and the Magicians: Polemics and Rivalry (1982), translated – Ideal and Type in Italian Renaissance Painting (1983) translated – Raphael: A Quincentennial Address (1983) (translated 1984) – The Ecclesiastical Significance of Raphael’s `Transfiguration’ (1981) – `That Rare Italian Master:’ Giulio Romano, Court Architect, Painter and Impressario (1981) – Architecture and Rhetoric in Giulio Romano’s Palazzo del Te (1984) revised – Michelangelo’s Cartoon in the British Museum (Not previously published).

Translations:

German (Klett-Cotta), Stuttgart 1988. Italian, Turin 1987. Spanish (Alianza Forma), Madrid 1987.

A Note on Giorgione’s `Three Philosophers’, The Burlington Magazine July 1986, p. 488.

Kokoschka in his Time (Tate Modern Masters), Lecture given at the Tate Gallery on 2 July 1986.

Review:

Martin Jesinghausen-Lauster, Die Suche nach der symbolischen Form. Der Kreis um die Kulturwissenschaftliche Bibliothek Warburg (Saecula Spiritual: 13). Baden-Baden, 1985. Kunst Chronik, 39, 8, August 1986, pp. 286-294.

1987

Reflections on the History of Art: Views and Reviews edited by Richard Woodfield, Oxford.

Foreword – The art of the Greeks (1966) – Chinese landscape painting (1980) – Tribal styles (1972) – A medieaval motif (1981) – Expressions of despair (1978) – The impact of the Black Death (1953) – New revelations on fresco painting (1969) – Kenneth Clark’s Piero della Francesca’ (1952) – The repentance of Judas (1959) – Seeking a key to Leonardo (1965) – Leonardo in the History of Science (1968) – The marvel of Leonardo (1982) – Michelangelo’s last paintings (1977) – The rhetoric of attribution – a cautionary tale (1978) – The worship of ancient sculpture (1981) – Patrons and painters in Baroque Italy (1963) – Durch genre painting (1985) – Mapping and painting in the Netherlands in the seventeenth century (1983) – The mastery of Rubens (1978) – On Rembrandt (1970) – Adam’s house in Paradise (1973) – Painted anecdotes (1967) – The whirligig of taste (1976) – The anatomy of art collecting (1982) – The claims of excellence (1968) – The meaning of beauty (1950) – The beauty of old towns (1965) – Dilemmas of modern art criticism (1968) – A theory of modern art (1966) – Malraux on art and myth (1960) – Freud’s aesthetics (1966) – Appendix: Signs, language and behaviour (1949).

Translations:

French (Éditions Jacqueline Chambon), Nîmes 1992. Italian (Einaudi), Torino 1991. German (Klett-Cotta), Stuttgart 1993.

Sir Ernst Gombrich: An Autobiographical Sketch and Discussion, Rutgers Art Review, VIII, pp. 123 – 141.

An Early Seventeenth-Century Canon of Artistic Excellence: Pierleone Casella’s Elogia Illustrium Artificum of 1606, Journal of the Warburg and Courtauld Institutes, 50, pp. 224 – 232.

“They were All Human Beings – So Much is Plain”: Reflections on Cultural Relativism in the Humanities, Critical Inquiry, 13, pp. 686 – 699. (Translation of “Sind eben alles Menschen…”…, 1986) Reprinted in Topics of our Time.

The Values of the Byzantine Tradition: A Documentary History of Goethe’s Response to the Boisserée Collection, in The Documented Image, ed. GP Weisberg & LS Dixon, Syracuse UP, pp. 291 – 308.

From Careggi to Montmartre: A Footnote to Erwin Panofsky’s Idea, in Il se rendit en Italie: Etudes offertes à André Chastel, Paris 1987, pp. 667 – 677. Reprinted in Topics of our Time.

Western Art and the Perception of Space in Space in European Art: Council of Europe Exhibition in Japan, (Japanese and English, pp. 16 – 28.

Review:

Francis Haskell, Past and Present in Art and Taste: Selected Essays. The New York Review of Books, pp. 25 – 27.

1988

“Symmetrie, Wahrnehmung und Küstlerische Gestaltung”, Rudolf Wille, (ed.) Symmetrie in Geistes und Natur-Wissenschaft, Symposium, (Springer). pp. 94-119.

“Voir la Nature, Voir les Peintures”, Les Cahiers du Musée National d’art moderne 24, Ete 1988, pp. 21-43.

“Spracherlebnisse”, Weiner Festrede nach der Entgegenahme des ersten österreichischen Wittgenstein-Preises, Die Presse, 14-15 May 1988, VI & VII. Reprinted Gastspiele (1992).

Catalogue, Milein Cosman, Stadtmuseum Dusseldorf, 11 May – 19 June 1988.

“Italian Caricature and its English Transformation”, B.I.S. Leconfield Lecture, Revista, Journal of the British-Italian Society. January/February 1988, pp. 1- 4 (Summary).

“Einige Erinnerungen an Julius von Schlosser als Lehrer”, Kritische Berichte 4/1988, pp. 5-9.

“`A Primitive Simplicity’ `Einfachte Nachahmung der Nature, Manier Styl’ in englischer Sicht”, Christian Beutler, Peter-Klaus Schuster and Martin Warnke (ed.) Kunst um 1800 und die Folgen, Werner Hofmann zu Ehren, pp. 95-95, Münich (Prestel-Verlag).

(With David Chambers) “Annibale Litolfi, a sixteenth-century nature lover: Spoglie from the Gonzaga Archives”, Renaissance Studies, Vol. 2., No. 2., October, 1988 ( A Tribute to Denys Hay) pp. 321-326.

(With Caroline Elam) “Lorenzo de Medici and a frustrated Villa Project at Vallombrosa”, Florence and Italy, Renaissance Studies in Honour of Nicolai Rubinstein (ed.) Peter Denley and Caroline Elam, Westfield Publications, London, 1988, pp. 481-492.

The purpose and limits of the psychology of art (summary), Bulletin of the British Psychological Society, vol. 39. A 75/76.

Words spoken at the graveside of Anna Mahler on 19th June 1988 (English and German in Anna Mahler, Sculptures, Catalogue, Salzburg Festival, pp. 41-42, (Hardback publication Salzburg 1989, pp. 10-11).

Letter in response to James Elkins’ article “Art History without Theory”, Critical Inquiry, Vol. 14, No. 4, Summer 1988, p. 892.

Preface to Chinese ed. of The Story of Art.

Preface to Chinese ed. of Art and Illusion.

Preface to Chinese ed. of The Image and the Eye.

Preface to Hebrew ed. of Art and Illusion.

1989

Focus on the Arts and Humanities, Selected Essays, translated into Chinese, (ed. Fan Jing Zhong).

Focus on the Arts and Humanities (1982) – Meditations on a Hobby Horse (1951) – Psycho-analysis and the History of Art (1953) – Visual Metaphors of Value in Art (1954) – Style (1968) – Norm and Form (1963) – The Renaissance Theory of Art and the Rise of Landscape (1953) – Leonardo’s Method for working out Compositions (1954) – Raphael’s Madonna della Sedia (1956) – The Heritage of Apelles (1976) – Light, Form and Texture in 15th Century Painting (1964) – Franz Schubert and the Vienna of his time (1980) – Kokoschka in his time (1986) – Homo ludens (1973) – Aesthetics and the History of the Arts (1984) – Ernst Kris (1987) – Otto Kurz (1979) – Goettingen Address (1985) – Nova Reperta (unpublished) – Kunst-wissenschaft (1952) – Kunstliteratur (1952).

“Evolution in the Arts: The Altar Painting, its Ancestry and Progeny”, Evolution and its influence. The Herbert Spencer Lectures 1986, ed. Alan Grafen, Oxford U.P., pp. 107-125, 45 illustrations.

Wege zur Bildgestaltung. Vom Einfall zur Ausführung. Gerda Henkel Vorlesung, Westdeutscher Verlag, pp. 5-21, 65 illustrations.

Translation:

English, in Topics of our Time (1991).

The Glory of Florence, Inaugural Lecture of the Florence Programme of Richmond College, Richmond, Surrey (3rd November 1982), pp. 3-23.

“Supply and Demand in the Evolution of Styles: The Example of International Gothic”, (pp. 127-160) – The Problem of Explanation in the Humanitites (pp. 161-167) – Technology and Tradition in the Arts (pp. 169-172) – `Valuefree’ Humanities (pp. 173-175), in Three Cultures Symposium organised by the Praemium Erasmus Foundation, Rotterdam University Press, pp. 127-160. The last three reprinted in Topics of our Time, (1991).

“The Problem of Relativism in the History of Ideas”, Storia delle Idee, Problemi e Prospettive (Lessico Intellettuale Europeo), ed Massimo L Bianchi, Rome, pp. 3-12. Reprinted in Topics of our Time, (1991).

“Bildliche Anleitungen” in Nonverbale Kommunikation durch Bilder, ed. Martin Schuster and Bernard P. Woschek, Stuttgart, pp. 123-142.

Preface to the Catalogue Leonardo da Vinci, Hayward Gallery, South Bank Centre, London, 26 January – 16 April, 1989. pp. 1-4.

“Anticamente moderni e modernamente antichi”, Note sulla fortuna critica di Giulio Romano pittore, Introduction (pp. 11-13) to catalogue Giulio Romano, (Exhibition, Mantua, Sept-Nov, 1989), Milan Electra.

Preface to Catalogue of photographs by Vasco Ascolini, Aosta Metaphisica and other Places, (also in Italian and French), 1 page, Aosta.

“By way of Introduction” (Dutch & English) in H.R. Hoetink Gezicht op het Mauritshuis, The Hague, 1989, pp. 14-19 and 190-193. Reprinted in Topics of our Time (1991).

Acceptance Statement on election to German Academy, for Language and Literature (1988) in Vorstellungen, 40 Jahre Deutsche Akademie für Sprache und Dichtung 1949-1989, pp. 303-305.

Comment on Henri Cartier-Bresson’s photograph of Matisse (in Japanese) No. 26 of publication by Pacific Press Service, ed. R.L. Kirschenbaum (2 pages).

Kenneth Keele’s contribution to the study of Leonardo da Vinci, Journal of the Royal Society of Medicine, Vol. 82, Sept. 1983, pp. 563- 566.

Interview with Laura Gasparini, Fotologia, 10, pp. 75-78.

“L’Exposition imaginaire – Memory and the Work of Art”, Interview (English and Dutch) in L’Exposition Imaginaire, edited by Riet de Leeuw and Evelyn Beer, pp. 204-213, The Hague.

Interview in Herlinde Koelbl, Jüdische Portraits, Frankfurt am Main, S. Fischer, pp. 86-90.

Interview with Michael Podro, Apollo, December 1989, pp. 373-378.

The Story of Art, 15th ed., revised and amplified.

Reviews:

Edward S. Reed, James J. Gibson and the Psychology of Perception. The New York Review of Books XXXV, No. 21 & 22, 19th January 1989, pp. 13-15.

Heinz Demisch, Erhobene Hände, Geschichte einer Gebärde in der Bildenden Kunst, Stuttgart, 1984. The Burlington Magazine, December, 1989, p. 85.

1990

“Magic, Myth & Metaphor: Reflections on Pictorial Satire”, (XXVII Congres International d’histoire l’art, Strasbourg, 1-3 Septembre 1989, Actes) L’art et les révolutions, Conférences plenières, Strasbourg 1990, pp. 23-66.

“My Library was Dukedon large enough”: Shakespeare’s Prospero and Prospero Visconti of Milan in England and the Continental Renaissance, Essays in Honor of J.B. Trapp, edited by Edward Chaney and Peter Mack, Woodbridge, Suffolk, The Boydell Press, 1990, pp. 185-190.

Dall ‘Archaelogia alla Storia dell’Arte: Tappe della Fortuna Critica dello stile Romanico (Einaudi), Torino 1990. Privately circulated.

Idea in the Theory of Art: Philosophy or Rhetoric?, Idea, Colloquio Internationale, Roma 5-7 Jennaio 1989, ed. M. Fattori e M. L. Bionili, (Lessico Intellettuale Europeo LI), pp. 411.

Pictorial Instructions, in Images & Understanding, ed. by Horace Benlow, Colin Blakemore, Miranda Weston-Smith, Cambridge U.P., 1990, pp. 26-45. For German translation see “Bildliche Anleitungen” 1989.

The Warburg Institute – A Personal Memoir, The Art Newspaper, No.2, November 1990, p.9.

Speech at Retirement Party for J.B. Trapp, The Warburg Institute Annual Report 1989/90, pp. 26-28.

Old Masters and other Household Gods: Second Thoughts on The Story of Art, The Independent, Sat., January 6th.

Foreword to the Catalogue A. Games, 60 Years of Design, Howard Gardens Gallery, Cardiff, March 1990, pp. 9-10. Reprinted in Topics of our Times, (1991).

Foreword to the Catalogue Oskar Kokoschka The Late Works, 1953-1980. Marlborough Fine Art (London), 8th June-21st July 1990, p. 8.

Due lettere di Giovanni Previtali, Scritti in ricordo di Giovanni Previtali Vol. I, Prospettiva No. 55-56, April 1988 – January 1989, pp. 6-8.

Interview in Martina Sitt, Kunsthistoriker in Eigener Sache, Dietrich Reimer Verlag, Berlin 1990, pp. 62-100.

Carlos Montes, Interview with Carlos Montes, Arquitectonica, June 1990, pp. 125-136.

Preface to Seymour Howard Antiquity Restored, Essays on the Afterlife of the Antique, IRSA, Vienna 1990.

1991

Topics of our Time, Twentieth Century issues in learning and in art, London. 223 pp., 158 ill.

An autobiographical sketch (1987) – The Embattled Humanities (1985) – Relativism in the Humanities (1985, 1987) – Relativism in the History of Ideas (1989) -Relativism in the appreciation of Art (1989) – Approaches to the History of Art (1989) – The Conservation our Cities (1963) – Watching Artists at Work (1989) – Plato in Modern Dress (1987) – Kokoschka in his Time (1986) – Image and Word in Twentieth Century Art (1985) – The Art of Saul Steinberg (1983) – A Master of Poster Design, Abraham Games (1990) – The Photographer as Artist, Henri Cartier-Bresson (1978).

With Didier Eribon Ce Que L’image nous dit, Entretiens sur l’art et la science (Adam Biro), Paris. 187 pp.

Translations:

English 1993, A Lifelong Interest. German, Stuttgart 1993. Spanish, Madrid 1992, Bogota 1993.

Styles of Art & Styles of Life, The Reynolds Lecture 1990, Royal Academy of Arts, London, 1991, pp. 1-35. Reprinted with other illustrations Kunst & Museum Journal, Vol. 3, No. 1, 1991, pp. 9-22; Italian and English, Domus, December 1992.

Goethe and the History of Art, The Contribution of Heinrich Meyer, Publications of the English Goethe Society, New Series Vol. LX, pp. 1-19.

Translation:

German in Gastspiele, 1992.

Archaeologists or Pharisees? Reflections on a Painting by Maerten van Heemskerk, Journal of the Warburg and Courtauld Institutes, LIV, 1991, pp. 253-256.

André Chastel: Un témoignage personnel, Revue de l’art No. 93, pp. 25-27.

Zum Geleit, Preface to Klaus Lepsky Ernst H. Gombrich, Theorie und Methode (Böhlau Verlag), Wien-Köln, pp. 9-13.

Von der Grösse Adolf Buschs, Preface to Adolf Busch-Briefe-Bilde-Erinnerungen, ed. Irene Serkin-Busch, Arts and Letters Press, Walpole, New Hampshire, pp. vii-xii.

Introduction to Giuseppe Zevola, Piaceri di Noia, Quattro secoli di Scarabocchi nell’Archivi Stirco del Banco di Napoli (Leonardo Editore), Milan, pp. 7-17.

Preface, (Italian and English) L’apprendista Stregone, Faenza Anni 90, Agenzia Polo Ceramico di Faenza.

Preface, (in Spanish) to Joaquin Lorda, Gombrich: Una teoria del arte, Barcelona, Ediciones Internacionales Universitarias, Eiunsa, S.A.

“Why preserve historic building?” The Continued Relevance of Ruskin, (Shortened and revised version of Warum Denkmalpflege? 1983), Christie’s International Magazine, February 1991, pp. 2-5.

Gedanken zu “Mozart 1991″, Programm, Internationaler Mozart-Kongress 1991, Salzburg 2-6 February.

Speech on the retirement of Dr. Jennifer Montagu, Annual Report of the Warburg Institute 1990/1991, pp. 26-29.

Translation:

Italian in Giornale d’Arte, Nov. 1991.

Letter to The Independent, 31st January 1991 (Signs of Art that must still be seen).

Tradicion y Creatividad (Seminar of Queen Beatrix, Amsterdam, 1982), Anales de Arquitectura, 1990, Numero 2, Ano II, pp. 39-49.

Tribute to Robert B. Silvers (editor The New York Review of Books), Copyright 1990, pp. 21-22.

Slovenian selection of Essays by Natasa Golob with a Preface by the author Spisi O Umetnosti, Ljubljana.

Introduction: Aims and Limits of Iconology (1972) – Icones symbolicae (1948) – Norm and Form (1963) – The Renaissance Conception of Artistic Progress and its Consequences (1952) – Moment and Movement in Art (1964) – Ritualized Gesture and Expression in Art (1966) – Action and Expression in Western Art (1970) – The Mask and the Face (1970).

Preface to Japanese edition of Symbolic Images.

Preface to Hungarian edition of Eine Kurze Weltgeslichte.

Review:

R.N. Shepard, Mind Sights. Perception, Vol. 20. No.5, pp. 693-695.

1992

Gastspiele, Aufsätze eines Kunsthistorikers zur deutschen Sprache und Germanistik, (Bohlau Verlag, Vienna).

Vorwort. Erinnerungen an Ernst Schaumann (1885-1934) – “Sind eben alles Menschen gewesen.” Zum Kulturrelativismus in den Geisteswissenschaften (1986) – Gotthold Ephraim Lessing: Die Beitrag Johann Heinrich Meyers (191) – Goethe und die Kunstsammlung der Brüder Boisserée: Gewinn und Verlust in der Emanzipation von der byzantinischen Überlieferung (1987) – Das Symbol des Schleiers. Psychologische Betrachtungen zu Schillers Dichtung (1985) – Eine Grillparzeranekdote (1963) – Beim Schreiden: Das Spiel mit den Dominosteinen Überlegungen eines Kunsthistorikers (1983) – Spracherlebnisse Festrede aus Anlass der Entgegennahme des ersten österreichischen Wittgenstein-Preises, Wien (1988).

Preface to The Art of Laughter, ed. Lionel Lambourne & Amanda-Jane Doran, Exhibition at the Ashmolean Museum, Oxford, pp. 9-12.

Foreword Oskar Kokoschka Letters, Thames & Hudson, London, pp. 7-11.

Introduction to Francis Ames-Lewis Cosimo il Vecchio de Medici 1389-1464 (Essays), O.U.P., pp. 1-3.

Preface to Catalogue, Guiliano della Casa, Galleria Civica, Modena, October-December 1992.

Address on occasion of A.A.H. Bookfair, London, Bulletin, Association of Art Historians, 44, Feb. 1992, p. 28.

Opening Address, Historical Exhibition 1963-1973, Free Painters & Sculptors, Members Newsletter, December 1992.

The Shock of the New (Conversation with Tom Phillips in the Mantegna Exhibition), The Royal Academy Magazine, No. 34, Spring 1992, pp. 50-54.

Interview with Martin Gayford, Modern Painters, Winter 1992, pp. 68-71.

(with Sam Oakley), Gombrich- The Art of Criticism, Pulp Magazine (Manchester Polytechnic Student Union), No. 9, 1991-2, p. 14  [No Trapp number]

1993

Additional thoughts on perspective, The Journal of Aesthetics and Art Criticism, 51 (1), Winter 1993, p. 69.

Künstler, Kenner, Kunden, Wiener Vorlesungen im Rathaus, 19, (Picus Verlag Wien)

Two Contributions (Interview) in Adi Wimmer, Die Heimat wurde ihnen fremd, die Fremde nicht zur Heimat, Vienna 1993, pp. 24-29 & 179-182.

Lilly von Sauter, (1913-1972) Introduction to Lilly von Sauter, Die Blauen Disteln der Kunst, Prosa und Lyrik (Haymon), Innsbruck, 1993 pp. 7-20.

Recognising the World, Pissaro at the RA, The Royal Academy Magazine, 39, Summer 1993, p. 33.

Leonardo’s Last Supper, Papers given on the occasion of the dedication of the Last Supper (after Leonardo), Magdalen College, Occasional Papers, Oxford 1993, pp. 7-19.

The End of the Story of Art. Edited version of the open address given at the Free Painters’ National Exhibition 1963-73 in 1992. The Artist, August 1993, p. 4.

Speech made at Urbino on receipt of the Honorary Doctorate of Letters, 28th June 1992, published by the Universita degli Studi di Urbino, 1993, pp. 13-16.

A Reply to Jaques Vialle, Les sciences sociales et l’histoire de l’art, Xoana, Images et sciences sociales, 1, Marseilles 1993, pp. 118-121.

Reviews:

John Shearman, Only Connect. Art and the Spectator in the Renaissance. The New York Review of Books, March 4, 1993, pp. 19-21.

Francis Haskell, History and its Images. Financial Times Weekend, July 3/4, p. xvi and The New York Review of Books, xi/17, 21.10.93, pp. 60-6.

1994

(With Bridget Riley): The use of colour and its effect: the how and the why, Burlington Magazine, 136, pp. 427-9

Jenseits der grossen asserschiede: Goethe und die Geister aus dem Kunstgrunde der Vergangenheit, Frankfurte Allgeime Zeitung, 29 August

Translation:

Goethe: the Mediator of Classical Values, The Essential Gombrich, 1996

Aby Warburg and A.F. Rio. Studi in onore di Giulio Carlo Argan, special volume of Storia dell’arte, Florence: La Nuova Italia, pp. 48-52, 2 illustrations. Reprinted as ‘The Nineteenth Century Notion of a Pagan Revival’ in Richard Woodfield, ed., Art History as Cultural History: Warburg’s Projects, Amsterdam: G+B Arts, pp. 55-64

Aby Warburg e l’evoluzionismo ottocentesco, Belfagor 49 (6), pp 635-49

Translation:

(German) Aby Warburg und der Evolutionismus des 19. Jahrunderts, (H.g.: Robert Galitz und Brita Reimers) Aby M. Warburg “Ekstatische Nymphe … traunder Flussgott” Portrait eines Gelehrten, Hamburg (Dölling und Galitz Verlag)

1995

The Open Society and its Enemies: Remembering Its Publication Fifty Years Ago, Centre for the Philosophy of the Natural and Social Sciences, Discussion Paper Series, 11, 17pp.

From Archaeology to Art History: Some Stages in the Rediscovery of the Romanesque, Icon to Cartoon: A Tribute to Sixten Ringbom, Helsinki, pp. 91-108

1996

The Essential Gombrich, London, 590 pp., 476 ill.

An Autobiographical Sketch – Old Masters and Other Household Gods – The Visual Image: its Place in Communication – On Art and Artists – Psychology and the Riddle of Style – Truth and the Stereotype – Action and Expression in Western Art – Illusion and Art – The Use of Colour and its Effects: the How and the Why – The Necessity of Tradition: an Interpretation of the Poetics of I.A. Richards – Verbal Wit as a Paradigm of Art: the Aesthetic Theories of Sigmund Freud – Leonardo’s Method for Working out Compositions – The Force of Habit – The Psychology of Styles – The Primitive and its Value in Art – Magic, Myth and Metaphor: Reflections on Pictorial Satire – Approaches to the History of Art: Three Points for Discussion – The Social History of Art – In Search of Cultural History – Architecture and Rhetoric in Giulio Romano’s Palazzo del Tè – From the Revival of Letters to the Reform of the Arts: Niccolò Niccoli and Filippo Brunelleschi – The Use of Art for the Study of Symbols – Aims and Limits of Iconology – Raphael’s Stanza della Segnatura and the Nature of its Symbolism – The Subject of Poussin’s Orion – Dutch Genre Painting – Imagery and Art in the Romantic Period – The Wit of Saul Steinberg – Franz Schubert and the Vienna of his Time – Nature and Art as Needs of the Mind: the Philanthropic Ideals of Lord Leverhulme – Goethe: the Mediator of Classical Values

Italian translation: Sentiero verso l’arte, Milan 1997

Spanish translation: Gombrich esencial, Madrid 1997

French translation: Gombrich: L’Essentiel, Paris 2003

German translation: Das Gombrich Lesebuch, Berlin 2003

Polish translation: Ernst H. Gombrich – Pisma o sztuce i kulturze, Kraków 2011

Portuguese translation Gombrich essencial: textos selecionados arte e cultura, São Paulo 2012

Reviews:

Irving Lavin, ed., Erwin Panofsky, Three Essays on Style, Cambridge, Mass,, 1995 and Erwin Panofsky, Perspective as Symbolic Form, New York, 1991,New York Review of Books, 15 February, pp. 29-30

J.-M Chauvet, E.B. Deschamps and C. Hillaire, The Dawn of Art: The Chauvet Cave New York 1996, and J. Clottes and J. Courtain, The Cave beneath the Sea: Palaeolithic Images at Cosquer, New York 1996, New York Review of Books, 14 November, pp. 8-12.

Interview:

The Big Picture, interview with David Carrier, Art Forum, 34 (6), pp. 66-9, 106, 109

Response to Chang Hong Liu and John M. Kennedy. Response to J. Bakos. Richard Woodfield, ed., Gombrich on Art and PsychoIogy, Manchester: Manchester University Press, pp. 140, 258-61

1997

On Pride and Prejudice in the Arts. Lecture to the Art and Architecture Group at Leighton House, June 1992, 19 pp., London: Pentagram Design (Pentagram Papers, 26)

Speis der Malerknaben: Zu den technischen Grundlagen von Dürer’s Kunst. 29 pp.,3 illustrations. Vienna, WUV-Universitätsverlag (Wiener Vorlesungen, Konversationen und Studien

The Visual Arts in Vienna c. 1900; Reflections on the Jewish Catastrophe. Two texts based on lectures given on the occasion of the seminar ‘Fin-de-siècle Vienna and its Jewish Cultural Influences’, 17 November 1996, with a Preface by Emil Brix, 40 pp. London, Austrian Cultural Institute (Occasions, 1)

Art History and the Republic of Learning (with Polish summary: `Historia sztuki i Republika Nauk’). Address delivered on the occasion of the conferment of an honorary degree at the Complutensian University, Madrid. Biuletyn Historii Sztuki, 59, pp. 177-9

Een nieuwe toegang tot het meesterwerk van de Van Eycks. Kunstsschrift, 1997, 3, pp. 8-9, 2 illustrations

De ongelijk handen van Vermeers Geograf. Kunstschrift, 1, p. 2, 2 illustrations

A Passage from a Chinese Poet. Kent Kleinman and Leslie van Duzer, eds., Rudolf Arnheim: Revealing Vision, Ann Arbor: University of Michigan Press, pp. 96-7

The Sassetti Chapel Revisited: Santa Trinita and Lorenzo de’ Medici. I Tatti Studies. Essays in the Renaissance, 7, pp. 11-35

Georges de la Tour. Letter, Times Literary Supplement, 3 January, p. 17

Preface. Gerhardt Frankl: Exhibition of Paintings and Works on Paper, Cambridge: Fitzwilliam Museum

Preface. Alf Bøe, From Gothic Revival to Functional Form. Oslo, Scandinavian University Press, pp. xiii-xv

Preface. Lawrence Gowing, Vermeer, 3rd edition, London, Giles de la Mare Publishers

Es muss einen Unterschied für ihn machen. Interview with M. Schuster, in H.R. Becher et al., eds., Taschenbuch: Kust, Pädogogik, Psychologie. Kunststanpunkte, Baltmannsweiler, Schneider-Verlag Hohengehren, pp. 19-27

1998

Eastern Inventions and Western Response. Daedalus, 127, pp. 193-205, 4 illustrations

An Islamic Motif in a Gothic Setting. G.R. Owen-Crocker and T. Graham, eds., Medieval Art: Recent Perspectives: A Memorial Tribute to C.R. Dodwell. Manchester: Manchester University Press, pp. 159-64, figs. 84-8

The Mysterious Achievement of Likeness. Introduction to Tête-à-tête: Portraits by Henri Cartier-Bresson, London and New York, Thames and Hudson, pp. 1-9, 8 illustrations. Reprinted in The Art Newspaper, 9 February 1998. pp. 30-1

Sir Ernst Gombrich über seinen Lehrer Emanuel Löwy. Friedrich Berin, ed., Emanuel Löwy, ein vergessener Pionier, Kataloge der archäologischen Sammlung der Universität Wien. Sonderheft I, Vienna, Verlag des Clubs der Universität Wien, pp. 63-7I

Speech in Response to the Sindaco of Mantua on Receiving the Honorary Citizenship of that City. Gazzetta di Mantova, 21 June

‘Swansongs’ from 1945. Umení, 46, pp. 465-8, 1 illustration

Zeit, Zahl und Zeichen: Zur Geschichte des Gedenktages. Marcelo Stamm, ed., Philosophie in synthetischer Absicht, Stuttgart: Klett-Cotta, pp. 583-97. English translation: A History of Anniversaries: Time, Number and Sign, in K. Lippincott, ed., The Story of Time, London: Merrell Holberton, pp. 240-5

Review of J. Miller, On Reflection, London, Perception, 27, pp. 1135-6

Review of J. Starobinski, Largesse, Chicago, 1997. New York Review of Books, 23 April, pp. 443-4

1999

The Uses of Images: Studies in the Social Function of Art and Visual Communication, 304 pp., 356 illustrations, London. Phaidon Press

Contents: Introduction; Paintings on Walls: Means and Ends in the History of Fresco Painting (1976); Paintings for Altars: Their Evolution, Ancestry and Progeny (1989); Images as Luxury Objects: Supply and Demand in the Evolution of the International Gothic Stvle (1989);`Pictures for the Home (previously unpublished);Sculpture for Outdoors (previously unpublished); The Dream of Reason: Symbols of the French Revolution (1979); Magic, Myth and Metaphor: Reflections on Pictorial Satire (1990); Pleasures of Boredom: Four Centuries of Doodles (1991); Pictorial Instructions (1990); ‘Styles of Art and Styles of Life (1991); What Art Tells Us (1993)

Dal mio tempo: Città, maestri,incontri. Ed. Richard Woodfield, xxxiv, 154 pp. Turin: Einaudi. Contents: Vienna 1900: le arti figurative e il problema della cultura ebraica (1997); Riflessioni sulla catastrofe ebraica’ (1997); ‘Ricordo di Ernst Schaumann (1992); Ricordo di Julius von Schlosser come maestro (1988); Il mio maestro Emanuel Loewy (1998); Storia dell’arte e psicologia a Vienna cinquant’anni fa (1984); Il Warburg Institute: Un ricordo personale (1990); lcona (1996); Lezione urbinate (1993); Discorso di ringraziamento (Vienna, 16 giugno 1993); Un ritratto (1989); Quando avete qualcosa di serio da dire … (1990)

Giulio Romano: II Palazzo del Tè: Con testi di Vittore Branca e Gian Maria Erbesato, 239 pp., 46 illustrations, Mantua: Tre Lune. Contents: L’opera di Giulio Romano: 1.II Palazzo del Tè; 2. Una proposta d’interpretazione (1934); Manierismo e classicismo in Giulio Romano (1984)

2000

Aby Warburg: His Aims and Methods: An Anniversary Lecture. Journal of the Warburg and Courtauld Institutes, 62, 1999 (published 2000), pp. 268-82, 3 illustrations

Sleeper Awake!: A Literary Parallel to Michelangelo’s Drawing of The Dream of Human Life. Festschrift für Konrad Oberhuber, ed. Achim Gnann and Heinz Widauer, Milan: Electa, pp. I30-2, 3 illustrations

Letter in reply to Fritz Stern. New York Review of Books, 24 February, p. 49

`Wooden 0’ [Shakespeare, Henry V, Prologue, line 13]. Letter, Times Literary Supplement, 10 March

Portrait of the Artist as Paradox. Review of Simon Schama, Rembrandt’s Eyes, New York Review of Books, 20 Januarv, pp. 6-10, 3 illustrations

Noch einmal denken. Kunsthistoriker Aktuell: Mitteilungen des Österreichischen Kunsthistorikerverbandes, 17, 1, p. 1

2001

Warburg Centenary Lecture. Text of a Lecture given at the Warburg Institute, London, 1966, in Richard Woodfield, ed., Art History as Cultural History: Warburg’s Projects, Amsterdam: G+B Arts, pp. 33-54

The Nineteenth Century Notion of a Pagan Revival. Originally ‘Aby Warburg and A.F. Rio’ (1994) in Richard Woodfield, ed., Art History as Cultural History: Warburg’s Projects, Amsterdam: G+B Arts, pp. 55-63

2002

(posthumous)

The Preference for the Primitive. London: Phaidon, 324 pp., 218 ill

2005

A Little History of the World trans. Caroline Mustill, 304pp., 46 pen and ink drawings, New Haven and London. Yale University Press.

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