The Story of Art by E.H. Gombrich

How hard is The Story of Art to read?

The Story of Art scores 37 out of 100 for difficulty on ReadingRate, making it moderately challenging. The score is a weighted composite of nine measures: four of how hard the prose is to parse, five of how hard the meaning is to extract.

Vocabulary: 78 out of 100

The text frequently employs specialized art historical terminology such as "Hellenistic," "iconoclasts," "tympanum," "sfumato," "Quattrocento," and "Cinquecento," alongside specific architectural orders like "Doric" and "Corinthian." While Gombrich often provides context, the sheer volume and precision of these terms demand a sophisticated vocabulary from the reader, placing it significantly above general literary fiction.

Sentence structure: 75 out of 100

Gombrich constructs many long, multi-clause sentences that weave together historical context, artistic analysis, and conceptual arguments, requiring careful attention to follow. Phrases like "The fact is that even Hellenistic artists did not know what we call the laws of perspective. The famous avenue of poplars, which recedes to a vanishing point and which we all drew at school, was not then a standard task" demonstrate sustained grammatical demands. This complexity, though not overtly experimental, is consistently high, akin to Proustian subordination in its layering of ideas.

Abstraction: 72 out of 100

The book consistently delves into the theoretical and philosophical underpinnings of art, discussing concepts such as "the proper purpose of art in churches," "the mystery of creation," and the evolution of "the laws of vision." It moves beyond concrete descriptions of artworks to analyze the shifting ideas, cultural values, and intellectual frameworks that shaped artistic expression across millennia. This sustained engagement with abstract concepts makes it a demanding read, requiring readers to grapple with complex interpretations of meaning and purpose.

Information density: 80 out of 100

The excerpt is exceptionally dense with historical, cultural, and artistic information, covering vast periods and diverse civilizations from Hellenistic Greece to the early Renaissance in Italy and the North. Each page introduces numerous artists, specific artworks, architectural styles, and the socio-religious contexts influencing them, demanding high sustained attention to track the rapid succession of concepts and names. The text functions as a concentrated overview, packing centuries of artistic development into concise analyses.

Narrative indirection: 15 out of 100

Gombrich's prose is explicitly didactic, directly explaining artistic concepts, historical contexts, and stylistic shifts. For instance, he states, 'The word Renaissance means rebirth or revival,' leaving no room for readers to infer the author's intended meaning or message. The text functions as a clear, explanatory guide, minimizing any need for reader inference.

Symbolic density: 80 out of 100

The text itself is a literal, factual account of art history, not a symbolic narrative. While Gombrich analyzes and explains the symbolic meanings within the artworks he discusses (e.g., 'the dove—a symbol of Divine help,' or 'white lilies, symbols of virginity'), his own writing conveys its meaning directly through clear explanation and description, without employing allegory or motifs in its own structure.

Ironic distance: 12 out of 100

Gombrich maintains a consistently direct, authoritative, and pedagogical tone throughout the text, aiming for clear explanation rather than subtle implication or ironic commentary. Any critical observations about past artistic styles are explicit analytical statements, not instances of ironic distance between the text's surface meaning and the author's intent.

Resolution withholding: 18 out of 100

As a historical survey, the book systematically presents artistic developments and conceptual solutions, providing clear explanations and logical transitions between periods and ideas. Each artistic 'problem' is discussed with its historical 'solution' or evolution, offering a sense of conceptual closure rather than narrative ambiguity or unresolved questions.

Structural complexity: 20 out of 100

The book employs a straightforward chronological structure, guiding the reader through art history with clear chapter divisions and a linear progression. While Gombrich frequently draws analytical comparisons across different eras, these are explanatory links rather than disorienting shifts in timeline or perspective, ensuring a highly accessible and organized reading experience.

How The Story of Art is regarded

The Story of Art holds a literary regard score of 82 out of 100, weighing its place in the canon, its critical reception, its influence on other writers, and the standing of its author. Regard is measured separately from difficulty: a demanding book is not necessarily an admired one.

About the author

E.H. Gombrich