《The Story of Art》是一本由E.H. Gombrich著作，Phaidon Press出版的Paperback图书，本书定价：USD 39.95，页数：688，文章吧小编精心整理的一些读者的读后感，希望对大家能有帮助。
《The Story of Art》读后感(一)：关于中文版
港版《艺术的故事》，范景中·译，尽管文章第一句几乎已经成了译文信达雅的标准反例，但总体来说翻译还不错。这个版本印刷也算精美。但港版书国内不好买，而且贵，比原版还贵。
另外台版好像也出过，在豆瓣没找到链接。同样难买。
前几天居然在首图看到大陆的印本，改名叫《艺术发展史》，难怪以前没找到。回家查查，居然蔚蓝还有的卖。
天津人民美术出版社，用的也是范的译本。看封皮花花绿绿的，其实只是衬纸，里面是老式文献那种蓝色硬壳。正文印的也比较惨，折后￥65。和原版一起搭配着看，倒是不错的选择。
《The Story of Art》读后感(二)：是故事，不是艺术
本书确实是故事，不是艺术本身，也不是艺术史。不伦不类的。
1，大部分内容是主观的观点、看法；
2，主要内容是关于西欧的艺术；
3，一多半内容是关于16世纪之后艺术。
举例说：作者对于 Paolo Uccello "Battle of San Romano", (1439), Giotto di Bondone "Lamentation over the Dead Christ" (1303) 这两幅画的评论，简直太幼稚和业余了。
更甚者， "Descent from the Cross" by Rogier van der Weyden, Gombrich 甚至可能错误地解释了该画的人物和空间的布局的真实意图。
主观而偏激的观点随处可见：
1，“没有艺术，只有艺术家”？
2，“From his day onwards the history of art,......, is the history of the great artists” ？
《The Story of Art》读后感(三)：读书笔记：《The Story of Art》, E.H.GOMBRICH, PHAIDON
ame：《The Story of Art》
Author： E.H.GOMBRICH
ublisher：PHAIDON
1. There really is no such thing as Art. There are only artists. (Page 14)
2. There is no harm is calling all these activities art as long as we keep in mind that such a word may mean very different things in different times and places (Page 14)
3. We shall soon discover that the beauty of a picture does not really lie in the beauty of its subject-matter. (Portrait of His Mother, Albrecht Durer, Page 18)
4. The trouble about beauty is that tastes and standards of what is beautiful vary so much. (Page 20)
5. What is true of beauty is also true of expression. In fact, it is often the expression of a figure in the painting which makes us like or loathe the work. (Page 23)
6. When we have come to understand these languages, we may prefer works of art whose expression is less obvious than Reni's. (Page 24)
7. In the more primitive periods, when artists were not as skilled in presenting human faces and human gestures as they are now, it is often all the more moving to see how they tried nevertheless to bring out the feeling they want to convey. (Page 24)
8. One is whether the artist may not have had his reason for challenging the appearance of what he saw. (Page 26)
9. We should never condemn a work for being incorrectly drawn unless we have made quite sure that we are right and the painter is wrong. (Page 27)
10. No galloping horse ever moved in the way which seems nature to us. (Horse Racing at Epson, Page 28)
11. Now painter sometimes feel as of they were on such a voyage of discovery. They want to see the world afresh, and to discard all the accepted notions and prejudices about flesh being pink and apple red or yellow. (Page 29)
12. If we follow them and learn from them, even a glance out of our own window may become a thrilling adventure. (Page 29)
13. There is no greater obstacle to the enjoyment of great works of art than our unwillingness to discard habits and prejudices. (Page 29)
14. It was usually those artists who read the ｓｃｒｉｐｔures with the great devotion and attention who tries to build up in their minds an entires fresh picture of the incidents of the sacred story. (Page 30)
(to be continued)
《The Story of Art》读后感(四)：震撼的剖析
quot;中国虔诚的艺术家毕恭毕敬的态度画山水， 不是想进行什么个别的教导， 也不是仅仅当作装饰品， 而是给深思提供材料。他们呢的画是画在绢本卷轴上， 保存在珍贵的匣椟之中， 只有在当相当安静时， 才打来观看和玩味，很像是人们打开一般诗集对一首好诗再三地吟诵咏叹。这就是中国的十二世纪和十三世纪时最伟大的风景画中所蕴涵的意图。我们不再去体会那种心情， 因为我们是浮躁的西方人， 对那种参悟的功夫缺乏耐心和了解——我想我们在这方面的欠缺之甚绝不亚于中国古人在体育训练技术方面的欠缺。但是， 如果我们长时间的仔细观看那样一副画， 大概就会开始对他们的创作精神和高尚目的有所察觉......."Devout artists began to paint water and mountains in a spirit of reverence , not in order to teach any particular lesson, nor merely as decorations, but to provide material for deep thought, Their pictures on silk scrolls were kept in precious containers and only unrolled in quiet moments, to be looked at and reread a beautiful verse.That is the purpose behind the greatest of the Chinese landscape paintings of the twelfth and thirteenth centuries.It is not easy for us to recapture that mood, because we are fidgety Westerners with little patience and little knowledge of the technique of meditation- no more, i suppose, than the old Chinese had of the technique of physical training, But if we look long and carefully at a picture, we shall perhaps begin to feel something of the spirit in which it was painted and of the high purpose it was to serve."
《The Story of Art》读后感(五)：There really is no such thing as Art
21:
There really is no such thing as Art. There are only artists.
There is no harm in calling these activities art as long as we keep in mind that such a word may mean very different things in different times and places, and as long as we realize that Art with a capital A has no existence.
In fact, we shall soon discover that the beauty of a picture does not really lie in the beauty of its subject.
The trouble about beauty is that tastes and standards of what is beautiful vary so much.
ut here newcomers to art are often brought up against another difficulty. They want to admire the artist's skill in representing the things they see. What they like best are painting which 'look real.' The patience and skill which go into the faithful rendering of the visible world are indeed to be admired.
There are two things, therefore, which we should always ask ourselves if we find fault with the accuracy of a picture. One is whether the artist may not have had his reasons for changing the appearance of what he saw. We shall hear more about such reasons as the story of art unfolds. The other is that we should never condemn a work for being incorrectly drawn unless we have made quite sure that we are right and the painter is wrong.
There is no greater obstacle to the enjoyment of great works of art than out unwillingness to discard habits and prejudices.
《The Story of Art》读后感(六)：边读边写
之前看过几本艺术史的书，都是当工具书使，Gombrich的这本书，正如其书名一样，是本故事书，是一本关于艺术的故事书。我窃以为写介绍性史书（一切形式的历史，艺术史，音乐史等等）难的不是怎样写得面面俱到，而是如何在最短的阅读时间里给予读者以最大化的信息，且具有趣味性。Gombrich做到了这一点，至少反应在我今天看过的两章里。
短短5页，Gombrich介绍了拜占庭艺术的最主要特点，而且解答了长期以来一直困惑我的一个问题，为何在中世纪绘画中会有如此数量之大，主题单一且绘画手法略显粗糙的宗教性质作品。唯一美中不足的是相对于长达8世纪的时间里，作者仅例举，讲解了5副代表性作品，有些遗憾。
读到希腊时期的艺术这一章，我可以感受到作者的用心良苦。作者刻意简单化，甚至省略了很多这一时期专用的名词，以增加书的可读性。譬如书中出现的所有瓶器，一律用vase来代替，不管它是krater还是amphora；只要是雕像，一律用statue，不管它是kouros还是kore。因为同时在读其他三本希腊艺术的书，第一次遇到这些词汇的时候很是感到沮丧，因为没有一个认识。但是读Gombrich的书就不会有这种感觉，他不但把艺术史写的通俗易懂，而且我非常喜欢的一点，他让我在文字当中找到了艺术带给来的感动。比如写到透视缩短画法时，他写到“It was a tremendous moment in the history of art when, pehaps a little before 500bc, artists dared for the first time in all history to paint a foot as seen from in front. ......A greek vase, (figure 49) shows with what pride this dicovery was taken up.”
书附录的历史地图和年表非常有帮助，只是我个人的愿望，如果可以把年表插入每个章节当中，相应的作品对相应的时期就更好了。
《The Story of Art》读后感(七)：很好的书，就是写中国艺术的那一章太“煞风景”了！！！
西方艺术那部分还好，对中国艺术的解读就实在是肤浅。尤其是150页（英文版）的那一句看着简直让人吐血："It is not easy for us to recapture that mood,because we are fidgety Westerners with little patience and little knowledge of the technique of meditation- no more, I suppose,than the old Chinese had of the technique of physical training."
还有，老Combrich在这一章里变得很“Judgmental”，尽管他“perhaps”，“I suppose” 等词用了不少。总的看来他真是不懂中国艺术，惯用了西方的宗教思维......
《The Story of Art》读后感(八)：版本问题
贡布里希的 The Story of Art（《艺术的故事》）是以前在大学的图书馆读的，竟然有原作，写得非常不错。到欧洲以后，参观博物馆，看到不少原作。例如，终于在翡冷翠的Uffizi博物馆见到 Botticelli 的《春》和《维纳斯的诞生》；在梵蒂冈见到西斯廷壁画。书上的插图，已经美得让人神往，而原作竟然让人窒息。在西斯廷礼拜堂（Sistine Chapel）里，聚集了世界各地来"膜拜"米开朗基罗的人们。当年，达·芬奇来到这里，形容自己的感受是"雷轰头顶"。后来到波士顿艺术博物馆（Museum of Fine Art, Boston），见到一本和大学图书馆一样版本的 The Story of Art，终于买下。 最近，这本书有一个小开本，但由于先入为主的印象，总觉得不如以前的好。
《The Story of Art》读后感(九)：关于艺术的思考
什么是艺术呢？
是爱 Peter Paul Rubens1620年儿子的画作，
与画主体的美丑无关，Albredcht Durer 1514年母亲的画作，
与贫富无关Bartolome Esteban Murillo 1670-5年的街头流浪儿的画作，
与或魅或淡无关 Melozzo da Forli 1480年的天使和Hans Memling 的天使
与手法无关 GuidoReni 1639和 Tuscan master 1175的耶稣头像
与细腻或寥寥无关 AlbrechtDurer 1502的兔子 和Rembrandt van Rijn 1637大象
是神韵和内在的刻画 Pablo Picasso1941 的母鸡小鸡和1938年的小公鸡
与常理无关Theodore Gericault 1821年奔马图
与朴实或华美无关 Caravaggio1602的两幅圣马太图
是反复推敲而各得其所，Raphael 1505年草地圣母图