This author of (*) "In Search of Cultural History" rejected Ruskin's "innocent eye" in a work that draws on his friend Karl Popper to posit that a willing sense of disbelief is part of the "beholder's share" in viewing a painting.
This man oppposed the use of historicism in discussing fashion in his "The Logic of Vanity Fair." He argued "image makers" choose materials based on a psychological need in his "Meditations on a Hobbyhorse," while one of this man's essays, collected in Ideals and Idols, considers "Hegelianism without metaphysics" in the work of Lamprecht and Riegl and ultimately rejects how Huizinga and Burckhardt have formulated the title discpline. This author of (*) "In Search of Cultural History" rejected Ruskin's "innocent eye" in a work that draws on his friend Karl Popper to posit that a willing sense of disbelief is part of the "beholder's share" in viewing a painting. For 10 points, name this art historian, the author of Art and Illusion, as well as the popular introductory work The Story of Art.
This man oppposed the use of historicism in discussing fashion in his "The Logic of Vanity Fair."
{Ernst Gombrich}