Chapter Ten: The Experience of Caricature, Art and Illusion by EH GombrichIn Chapter Ten, the The author develops the way in which the conventions of the teachings of the academies are transcribed in many more than that. This chapter attempts to reveal the process or experimentation of the discoveries of expression which helped to transcend art through its creation. There was now a movement that went further than that of Rembrandt and John Constable, allowing budding artists to derive their perspective of expression away from nature. The development of "artificial perspective" creates a vast palette for the traditionally trained artist or, more importantly, for those unfamiliar with traditional methods. Once we, art lovers or historians, have moved beyond Berkeley's theory of vision and thus past the fixation of space in perspective, we can allow ourselves the opportunity to examine the relevance of light and texture, even physiognomic expression. The author recalls the Chinese formula; “The ideas present, the brush can be spared by the performance.” (p. 331) This is obvious ideally, the less complexity or ambiguity that can confuse our visual recognition, the greater the reception by the viewer. The author mentions that Rembrandt himself had to experiment with all his knowledge and experience to learn how many things he could exclude for the viewer to recognize and appreciate his artistic expression. Gombrich explains that one of the effects, within the criteria of perspective and appearance, which has posed problems for artists of past and present generations, is that of physiognomic impression. One aspect of physiognomic impression illustrated for the reader's context is facial expression. The reader in middle of paper...... was, as Gombrich notes, applauded for a retentive memory that allowed the attribution of new physiognomies to materialize. Daumier took the tradition of physiognomic experimentation beyond that of the realm of humor. Thanks to Daumier's attribution of the cessation between caricature and "high art", other greats like Munch would not have been able to progress in the expression of physiognomies. A conclusion from this chapter can be drawn from one of Picasso's quotes: “I do not seek, I find,” specifies Gombrich, “that creation itself is exploration. (p356) The author writes: “In turning away from the visible world, art may actually have found an unexplored region waiting to be discovered…articulated, like music…discovered.” …articulated it through the sound universe (p358). Art is a continuous action of someone that destroys or gets rid of identity..