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Index
Alexander Nehamas
Description: Only a Promise of Happiness: The Place of Beauty in a World of Art
Only a Promise of Happiness: The Place of Beauty in a World of Art
Index
Author
Alexander Nehamas
PublisherPrinceton University Press
Copyright© 2007 by Princeton University Press
Stable URL: https://aaeportal.com/?id=-22123
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Index
In the original print version, items from endnotes use locators that comprise first the number of the page where the note appears, then the page- and line-number in the text to which the note is keyed. For example, 139n.2/24 refers to a note on p.139 that is linked to the text at page 2, line 24.
abandonment of ancient/classical vision of beauty, 1–2
the aesthetic and, 3, 10 (see also aesthetics)
Kant and, 3–5, 11–13
Schopenhauer and, 5–6, 8–9, 13
twentieth century extension of, 11–13
Abstract Painting 1960–61 (Reinhardt), 77–78
Académie Royale de Peinture et de Sculpture, 13
Addison, Joseph, 16–17, 19
Aeschylus, 128
aesthetics: artistic value and, distinction between, 144n.17/3, 145n.24/6, 150n.49/14
attack on the rule of, 35
“beauty,” absence of the term in judgments of, 17
the common man/majority of people and, 1–2
the definition of art distinguished from, 95–96
description, problems of, 93–94, 159n.93/13
descriptive terms distinguished from terms of, 48–50
difference and individuality as values of, 136–37
erotic delight, pleasures of as, 141n.10/17
establishment of modern, 3, 139n.3/27
evaluation, principles/rules as inapplicable to, 47–48
evaluation as the starting point of, 15
Greek root of the term, 94
judgments of, Kant on, 79–82, 157n.83/21
judgments of, rejection of universal agreement regarding, 81–84
judgments of, style and, 85–90
Kantian dream of elimination of differences over, 83
language, application in, 50–52
modern abandonment of beauty and, 3, 10
moralism and, 89–90
the perceptual, connection to, 92–101
power and, interpretation emphasizing, 144n.18/18
reviews as the place for terms of, 44–45
victory of, purported, 19–20
After the Prom (Rockwell), 93–94
Alantolactone (Hirst), 51–52, Pl. 9
Alcetas of Rhodes, 141n.10/17
Allende, Isabel, 60
All That Jazz (Fosse), 122
Ally McBeal, 47
Ananoff, Alexandre, 162n.112/22
Annunciation (Botticelli), 47
Anti-Aesthetic, The (Foster), 35
Aphrodite, statue of by Praxiteles, 10
Apollinaire, Guillaume, 28, 30
Apollo and Diana in Wooded Landscape (Cranach), 98–99
appearance: beauty as manifested in, 16–22, 24, 63–64, 70–71, 133
constant, is not a, 124
desire and, 59–63
nonphysical factors in judgments of attractiveness, 68–70
standards of beauty, research regarding, 64–68
Arbus, Diane, 117 Arcadiou, Stelios. See Stelarc
Aristotle, 57–58, 64, 82, 153–54n.65/3, 153n.64/22, 166n.133/6
Arnold, Matthew, 136
Arnoux, Albert. See Bertall
art/the arts: autonomy of, significance of, 140n.5/15
criticism (see criticism)
defining a work of art, question of, 38
definition of, distinguishing the aesthetic from, 95–96
emotional feelings regarding works of, expression of, 73–76
judgments of taste regarding, 75–78
moral benefits/dangers of, 127–28
moral benefits/dangers of the “popular,” 128–30
objectivity in approaches to, 148n.42/30
popular (appreciated by the common man) and serious (appreciated by the elite), distinction between, 1–2, 17, 30–32, 127–28
power and, interpretation emphasizing, 144n.18/18
representation in, 11–12, 24, 31–32
style in, 85–90
value of detached from appearance, 22–24 (see also Modernism)
Astruc, Zacharie, 147n.39/26
audience, modern art and the, 29–30
Austin, J. L., 17
avant-garde, 30–31
Bach, Johann Sebastian, 83
Balthus (Balthasar Klossowski de Rola), 18
Baptism of Christ, The (Piero della Francesca), 93
Bardac, Joseph, 162n.112/22
Barkan, Leonard, 141n.10/17
Baudelaire, Charles, vii, 34, 87, 107–8, 115–17
Baumgarten, Alexander, 139n.3/37
Baxandall, Michael, 90–91
Baywatch, 84
Beardsley, Monroe C., 15, 143n.15/20, 165n.123/32
beauty: abandonment of ancient/classical vision of (see abandonment of ancient/classical vision of beauty)
aesthetic value as distinct from, 43–44
ancient/classical vision of, 2–3, 6–7, 132–33
appearance, manifested in, 16–22, 63–64, 70–71
as appearance, Modernism and, 23–29 (see also Modernism)
attraction to/desire for another person (see desire)
attractiveness and, 70–71
criticism and (see criticism)
difference and distinction, as a matter of, 133–37
direct contact/experience/perception of, 94–101
the erotic and, 9–11, 18–19, 141n.10/17 (see also erōs)
experience of as inseparable from interpretation of, 105
friendship and, 58–59
Hegel on, 94–95
immediacy of, 16–17, 22
inner and outer, love and, 59–63
interpretation of, 125–26, 131–32 (see also interpretation)
as its own reward, 138
judgment of (see judgment of beauty)
love and, 59–63, 72 (see also love)
of Manet’s Olympia (see Olympia (Manet))
morality/goodness and, 2–4, 21–22, 127, 133, 137–38
perception of, implications of, 163–64n.121/5
Picasso’s playing with, 25–28
standards of, 64–65 (see also appearance)
as visual rhetoric, 20
Bell, Clive, 11–12, 25, 142n.12/18
Berenson, Bernard, 89
Berkeley, George, 42
Bertall (Albert Arnoux), 37
Beyle, Marie-Henri. See Stendhal
“Bijoux, Les” (Baudelaire), 115
Birth of Venus, The (Cabanel), 40, 107–8
Birth of Venus (Botticelli), 28
Black Square (Malevich), 23
Bloom, Harold, 42–43
blue, 16, 24, 51, 91, 150n.51/21
Blue Nude (Matisse), 23–24, Pl. 2
Blue Venus (Klein), 52, Pl. 8
Böhm, Karl, 157n.83/9
Botticelli, Sandro (Alessandro di Mariano Filipepi), 28, 47–48
Boucher, François, 112–15, Pl. 11–12
Bouguereau, William-Adolphe, 21–22, 25–28, Pl. 4
Bourdieu, Pierre, 144n.18/18
Bovary, Emma, 60
Brillo Box (Warhol), 38
Brombert, Beth Archer, 115, 162n.113/3, 163n.115/22
Browning, Robert, 34–35
Burial at Ornans, A (Courbet), 51
Cabanel, Alexandre, 40, 107–8
camp, 88–89
Cantaloube, Amédée, 147n.39/26
Caprichos (Goya), 48
Caravaggio, Michelangelo Merisi, 135, 138, 167n.138/7
Carey, John, 95
Carrier, David, 82, 156n.82/14
Castelli, Leo, 89
Cat’s Tail or the Charcoal-seller of Batignoles, The (Bertall), 37
Cavafy, Constantine P., 75, 139n.2/24
Cézanne, Paul, 12, 162n.113/8
Chapman, Dinos, 46
Chapman, George, 33
Chapman, Jake, 46
Chardin, Jean Baptiste Siméon, 90–91
Charles Baudelaire (Manet), 117
Charles II, 11
Christ Pantocrator, 120
Church at Auvers-sur-Oise (van Gogh), 17–18, Pl. 1
Clark, T. J., 51, 107–11, 116, 162n.113/8, 163n.116/18
Clay, Jean, 118
Cohen, Ted, 80–82
Coleridge, Samuel, 128–29
Collingwood, R. G., 13, 73
Confrontational Vulnerability (Johnson), 112
Corbière, Tristan, 34
Correggio, Antonio Allegri, 138, 167n.138/7
Courbet, Gustave, 27, 51
Cranach, Lucas, the Elder, 98–99
criticism: aesthetic terms in, minor role of, 48
appearance vs. analysis, the issue of, 22
attitude towards the critic, 150n.48/15
beauty as immediately obvious, issue of, 16–17
conception of, modern impulse regarding beauty and, 13–15
connecting Modernism and the past through, 30–35
Eliot on the function of, 89
evaluation/judgment and, 14–16, 41–44, 143–44n.16/14, 148–49n.43/30
evaluation vs. description in, 142–43n.15/3
objectivity of, 42, 148n.42/30
of Olympia, 39–42 (see also Olympia [Manet])
reviews, 44–47, 52–53
significance and judgment of value, inseparability of, 41
Wilde on the function of, 136. See also aesthetics interpretation
Critique of the Power of Judgment (Kant), 15, 79
Currin, John, 96–97
Dada, 20–21, 25
Danto, Arthur: “aesthetic” and “artistic,” usage of, 144n.17/3, 145n.24/6
aesthetic considerations cannot provide a definition of art, 96
beauty, ordinary and artistic distinguished, 16–17
beauty and good art, conceptual distinction between, 21
beauty as coordinate with other aesthetic features, 160n.99/16
beauty pushed aside by Modernism, 25
Matisse’s Blue Nude, rejection of beauty in, 23–24
Motherwell’s “Elegies for the Spanish Republic,” reaction to, 97–98
on Sontag’s argument regarding interpretation, 164n.121/33
terms of aesthetic vocabulary, 44–45
“Dark Lady” sonnets (Shakespeare), 61
Darwin, Charles, 65
David, Jacques-Louis, 51, 96–98
David, Larry, 128
Davoust, M., 162n.112/22
Death in Venice (Mann), 103–5
Death of Marat (David), 51, 96–98
Déjeuner sur l’herbe, Le (Luncheon on the grass) (Manet), 25–27, 107, 110, 115, 118
Delacroix, Eugène, 25
Demoiselles d’Avignon, Les (Picasso), 25
desire: appearance and, 59–63
of attraction and of love, distinction between, 63–64
beauty as the spark of, 53–55
Plato’s celebration of, 6–7, 9
to possess beauty, 11, 55–57
Schopenhauer’s torture by, 5, 9
sexual (see sexual desire)
social provoked by beauty, 77
Dickens, Charles, 138, 158n.90/7
Diderot, Denis, 14
Die Frau ohne Schatten (Strauss), 82–83
Disdéri, A. A., 115
Dissanayake, Ellen, 156n.82/7
Dogwood Chapel (Kinkade), 17–18
Donne, John, 33, 35
Donoghue, Denis, 151n.57/17
Dryden, John, 33
Duccio di Buoninsegna, 85
Duchamp, Marcel, 37
education, in Rome at the time of Cicero, 14
Elegy to the Spanish Republic No. 110 (Motherwell), 97–98
Elephant Man, The (Lynch), 59
Eliot, George (Mary Anne Evans), 127
Eliot, T. S., 30, 33–35, 89
Elkins, James, 142–43n.15/3
Elliot and Dominick (Mapplethorpe), 21
Eminem, 94
Encyclopedia of Aesthetics, 49, 51, 148–49n.43/30
erōs: beauty and, 9–10, 61, 68
as the desire to possess beauty, 55 (see also desire)
Plato’s exclusion of the arts from the objects of, 73. See also sexual desire
Euripides, 126
Evans, Mary Anne. See Eliot, George evil, the dangers of beauty and, 10
evolution, features of appearance and, 65–68
Execution of Emperor Maximilian of Mexico (Manet), 49–50, 91, 116, Pl. 6–7
Fable, Jean, 38
Faces, 65
Fantin-Latour, Henri, 110, 162n.113/8
Farwell, Beatrice, 115
Femmes d’Alger (Delacroix), 25
Flaubert, Gustave, 76
“For Anne Gregory” (Yeats), 151n.58/28
Forster, E. M., 103
Fosse, Bob, 122
Foster, Hal, 35, 144n.19/26
Fountain (Stieglitz), 37
Frankfurt, Harry G., 158n.89/33
Frasier, 47, 80
Fried, Michael: Manet’s paintings, influence of photography in, 115, 117–18
Minimalism, rejection of, 88, 166n.128/32
Olympia, interpretation of, 109–11, 117–18
streak of paint in The Execution of Emperor Maximilian, interpretation of, 49–50, 91–92
friendship: Aristotle on, 57–58
beauty and, 58–59
the desire to possess in, 57
the love of friends, 58
Fry, Roger, 12, 25
Frye, Northrop, 148n.42/30
Garbo, Greta, 88
Gass, William, 51
Gauguin, Paul, 12, 162n.113/8
Gautier, Théophile, 39
Gay Science, The (Nietzsche), 87
gender, attitudinal impact of, 139n.2/24
Gérôme, Jean-Léon, 109–10
Getty Provenance Index Databases, 162n.112/22
Ghirlandaio, Domenico, 96
Gilmore, Jonathan, 140n.5/15
di Giovanni, Stefano. See Sassetta
Goldman, Alan, 15
Goodman, Nelson, 43, 159n.93/13
Goya, Francisco de, 48, 112
Graff, Delia, 159n.93/13
Graves, Michael, 20
Greenberg, Clement: beauty, irrelevance for art of common conception of, 35
criticism by, enormous literature surrounding, 146n.30/32
Modernism and the art of the past, criticism addressing, 30–33
on painting, 146n.32/33
Renaissance art, realism of, 146n.32/4
Repin, inaccuracy regarding, 146n.31/26
on Soutine’s manner of applying paint to a surface, 47
Grove Dictionary of Arts, The, 149n.43/30
Guyer, Paul, 140n.5/15, 156n.81/3
Gwyn, Nell, 11
Hacker, Arthur, 11
Halle, David, 144n.18/18
Hamilton, G. H., 115
Hamlet (Shakespeare), 43, 92
happiness: beauty as only a promise of, 63, 101, 130, 134
Plato’s belief that pursuing beauty leads necessarily to, 132–33
the promise of, 138
Harris, Jonathan, 148n.42/30
Haupt, Theodore G., 32
Heartless (Currin), 96–97
Hegel, Georg Wilhelm Friedrich, 94–95
Herbert, George, 33
Hermeren, Göran, 150n.49/14
Hesse, Herman, 74
heterozygosity, 154n.65/20
Hickey, Dave, 20, 25, 76, 88, 145n.20/32
Hirst, Damien, 51–52, Pl. 9
History of Ancient Art (Winckelmann), 16
Hobbes, Thomas, 67
Holland, Gertrude M., 157n.83/9
Hollander, Ann, 98
Holy Family with St. Elizabeth (Madonna of the Basket) (Rubens), 74
Homer, 128
Hume, David, 47, 156n.79/33, 160n.94/23
Huxley, Aldous, 83
Ingres, Jean Auguste Dominique, 41, 107, 112
In Search of Lost Time (Proust): author’s falling in love with, 74
circular and hermetic structure of, 165n.125/28
friend’s intention to not read, 80
obsessive observation of social detail in, 47
“self-sufficient beauty” observed by a critic in, 93
Swan’s desire to possess Odette, 55–57
time and incompleteness, the narrator as rooted in, 125
interpretation: in ancient Rome, 14
of beauty, 105, 131–32
continuation of as long as love and beauty persist, 125–27
evaluation and, 14–16, 41, 43
the flexible language of, 49–52
as the interminable establishing of connections, 121–25
point, determination of whether a work has a, 38–41
purpose of, 143–44n.16/14
of reviews, difficulties of, 46–47
Sontag’s argument regarding, “deep” vs. “surface” and, 164n.121/33. See also criticism
Isenberg, Arnold, 15, 47, 91
James II, 141n.11/31
Jaws, 123
Johnson, J. Seward, 112
Johnson, Samuel, 14
judgment of beauty: agreement regarding, question of basis for, 47–48
difference in, evaluation of, 134–37
far-reaching consequences of, 129–30
Kant on, 47, 156n.81/3
as personal style, 85–90
as social experience, 76–85
standards for physical (see appearance)
the standards of philosophy for, 130, 132–33 (see also Plato)
uncertainty (and a promise of happiness) in, 130–31, 136–38. See also criticism; interpretation; taste
Kandinsky, Wassily, 23, 30
Kant, Immanuel: aesthetic, idea of, 13, 16, 139n.3/27
aesthetic evaluation, principles inapplicable to, 47
on aesthetic judgment, 157n.83/21
on beauty, 47–48
beauty, common ability to find, 82
beauty, separation from morality and the rest of life of, 3–5, 11–13
beauty, the judgment of, 155–56n.79/21, 156n.81/3
genius, description of, 136
pleasure, different relations of representation to, 140n.5/15
reason, rational investigation of, 32
taste, on the judgment of, 4–5, 12, 15, 75–81
Kantianism, aesthetic differences, dream regarding, 83
Katrina, hurricane, 67
Kieran, Matthew, 142n.12/18
Kimmelman, Michael, 46
Kinkade, Thomas, 17–18
kitsch, 31–32
Klein, Yves, 51–52, Pl. 8
Klossowski de Rola, Balthasar. See Balthus
Krauss, Rosalind, 50
Lady Fastening Her Garter (La Toilette) (Boucher), 114
Lady on Her Day Bed, A (Boucher), 112–15, Pl. 11
Laforgue, Jules, 34–35
Langlois, Judith H., 153n.64/22
Large Odalisque (Ingres), 107, 112
Largillière, Nicolas de, 90
Larson, Sue, 159n.93/13
Laure, 109–10, 116, 118
Legros, Alphonse, 110
Lely, Sir Peter, 11
Le Monde, 38
L’Empereur de la perte (Fable), 38
LeWitt, Sol, 50
literary criticism. See criticism
Little Cavaliers, The (Manet), 135
Little Cavaliers, The (Velasquez), 135
Loos, Adolph, 29
love: beauty and, 59–63, 72
the desire to possess in (see desire)
of friends, 57–58
interpret the objects of our, no choice but to, 125–26
Lucas, George, 45
Lynch, David, 59
Madame Bovary (Flaubert), 60
Madonna and Child (Duccio), 85
Madonna and Child (known as the “Pisa Madonna”), 84
Madonna of the Basket (Correggio), 138
Malevich, Kasimir, 22–23
Mallarmé, Stéphane, 29
Malraux, André, 150n.51/21
Manet, Edouard: author’s judgment of, reaction to those who dispute, 80
Baudelaire on, 87
Charles Baudelaire, 117
Le Déjeuner sur l’herbe, 26–27, 107, 110, 115
early work, criticism of, 147–48n.39/28
Execution of Emperor Maximilian of Mexico, 49–50, 91, 116, Pl. 6–7
Jesus Mocked by the Soldiers, 36
The Little Cavaliers, 135
Music in the Tuileries Garden, 134
The Negro Woman, 109
The Old Musician, 110–11
Olympia (see Olympia [Manet])
photograph of, 118
Velasquez and, 134–35
Zola and, 40–41, 148n.41/9
Manet’s Modernism (Fried), 49–50
Manet’s Olympia (Ramos), 112
Mann, Thomas, 103–5
Manninen, Tuomo, 20
Maori feeding funnels, 38–39
Mapplethorpe, Robert, 21
Mariano Filipepi, Alessandro di. See Botticelli, Sandro
Marvell, Andrew, 33
Matisse, Henri, 12, 23–25, Pl. 2
McCauley, Anne, 115, 163n.119/3
Medea (Euripides), 126
Meñinas, Las (Velazquez), 25
Merleau-Ponty, Maurice, 150n.51/21
Merrick, John, 59
Metaphysics (Aristotle), 153–54n.65/3
Meurend, Victorine, 26–27, 109, 113, 116–18, 162n.113/8. See also Olympia (Manet)
Milton, John, 33
Minimalism, 88, 166n.128/32
misogyny, 145n.28/16
Moby-Dick (Melville), 123
Modernism: appropriation of the past by, 30–35
the audience, relation to, 29–30
avant-garde culture, 30–31
beauty as appearance for, 23–29
confusion as reaction to, 37–38
destruction of beauty as impulse of, 13 (see also criticism)
the difficult, discomforting and edifying prized over the lovely or attractive by, 5
good art absent beauty, discovery of the possibility of, 21–22
misogyny, exclusion of beauty as, 145n.28/16
poetry and, 33–35
the value of art detached from appearance by, 22–24. See also aesthetics
criticism Mona Lisa (da Vinci), 38
Montesquieu, Charles-Louis de Secondat, Baron de, 121
Moorish Woman and Her Maid, A (Moulin), 116
Morris, Robert, 46, 112 Mothersill, Mary: aesthetic judgment, reaction to those who disagree with an, 79
beauty in art and philosophy, contribution to questions surrounding, 143n.15/34
criticism, aim of, 15
describing aesthetic features, problems of, 94, 159n.93/13
on the judgment of taste, 77
on love for a work of art, 74
Motherwell, Robert, 97–98
Moulin, Félix Jacques, 116
Music in the Tuileries Garden (Manet), 134
Nabokov, Vladimir, 127
Nadar, Félix, 116, 118, 163n.119/3
Naked Maja (Goya), 112
Napoleon III, 107
Negro Woman, The (Manet), 109
Newman, Barnett, 13
New Orleans, 67
Newton, Wayne, 84
New Yorker, The, 31–32
New York Times, 110
Nietzsche, Friedrich, 62, 86–87, 89, 131–32, 134, 137–38
Nussbaum, Martha, 158n.90/7
Nymphaeum, The (Bouguereau), 22
Old Man and the Sea, The (Hemingway), 123
Old Man with a Child (Ghirlandaio), 96
Old Musician, The (Manet), 110–11
Oliver Twist (Dickens), 138
Olivier, Louis-Camille, 118
Olympia (Manet), Pl. 5, Pl. 13
author’s life, place in, 74, 105–6
Boucher’s A Lady on Her Day Bed, comparison to, 112–15
Clark’s interpretation of, 107–9
the critic’s response to, 39–42, 44
the double being of Olympia, the painting, and the beholder, 119–20
exhibition of, reaction to, 36–37, 107
female nudes, steering of the author to vast numbers of, 126–27
Fried’s interpretation of, 110–12
Laure in, figure of, 109–10, 116–18
the outward look of Olympia in, 108, 110–12, 115–17, 119–20
photography’s contribution to, 115–19
Zola on, 41–42
Original Sin, The (Panicale), 10
Orlan, 38, 40 Ortega y Gasset, José, 1 Oz, 80, 82, 128
P. Diddy, 94
paederasty, 6–7
painting: Greenberg on, 146n.32/33
Modernism’s impact on, 32–33
Pale Fire (Nabokov), 127
Panicale, Masolino de, 10
Papas, Nicholas, 85
Paris Salon, 13–14, 36, 42, 107
Pater, Walter, 3
Paula (Allende), 60
Peirce, C. S., 83
Pelagia and Philammon (Hacker), 11
Pesquidoux, Dubose de, 147n.37/6
Phaedrus (Plato), 2, 103
philosophy: abandonment of ancient/ classical vision of beauty, 2–3
moralism of recent, 89
reviewing as a form of criticism for, 45–46
photography: information provided by, 69
Olympia and, 115–19
Picasso, Pablo, 24–25, 27–28, 31, 162n.113/8, Pl. 3
Piero della Francesca, 93
“Pisa Madonna,” 84
Plato: appearance is the object of desire, on the pleasures aimed at when, 19
art excluded from expressions of culture, 73–74
author’s view of the world, contribution to, 134
beauty, casual hint regarding, 153n.65/3
beauty, happiness and, 166n.133/6
beauty, immediacy of, 16
beauty, power of, 120–21
beauty, pursuit of as leading to virtue and happiness, 130, 132–33
beauty and love, connection of, 13, 22
beauty and moral goodness, linkage of, 2–3, 127, 137–38
convergence with Kant on beauty and love, 76
culture, subtle ways of, 126
epic and tragic poetry, rejection of, 128
erōs and beauty/love, 6–7, 9, 55, 60–62, 100
knowing what something is, 124
on the life of the philosopher vs. the tyrant, 139n.2/33
Phaedrus, 103
Republic, 139n.2/33
Symposium (see Symposium [Plato])
virtue and morality, linkage of, 166n.133/6
Pliny, 10, 73, 141n.10/17
Plotinus, 1–3, 86
poetry, Eliot on Modernism’s impact on, 33–35
Pollock, Griselda, 109–10
Pollock, Jackson, 33
Portrait of a Young English Gentleman (Titian), 74
Portrait of Man (Emile Lejeune) (Soutine), 46–47
Portrait of Marguerite de Sève (Largillière), 90
Portrait of Nell Gwyn as Venus, with her son, Charles Beauclerk as Cupid (Lely), 11, 141n.11/31
Posner, Richard, 158n.90/7
Postrel, Virginia, 19–20, 144n.19/25
Pourvoyeuse, La (The Cateress) (Chardin), 90
Praxiteles, 10, 141n.10/17
Primavera, La (Botticelli), 48
Proust, Marcel: love limited to what we do not wholly possess, 63
In Search of Lost Time (see In Search of Lost Time)
vision, difference in, 134
Prynne, Henry, 128
Quine, Willard Van Orman, 124–25
Quinn, Mark, 38
Racine, Jean, 35
Racz, André, 44–45, 48
Raphael (Raffaello di Sanzio), 22
Ramos, Mel, 112
Rape of the Sabines, The (Girolamo), 25
Ray, Nicholas, 59
Rebel without a Cause (Ray), 59
Reff, Theodore, 162n.113/3
Reinhardt, Ad (Adolph Dietrich Friedrich), 77–78
Renoir, Pierre-Auguste, 150n.51/21
Repin, Ilya Yefimovich, 31, 146n.31/26
representation, 24, 31–32
Republic (Plato), 139n.2/33
reviews/reviewing, 44–47, 52–53
Rockwell, Norman, 88, 93–94
Roggman, Lori A., 153n.64/22
Rokeby Venus (Velasquez), 112, 126
Rome, ancient, educational system of, 14
Rorty, Richard, 127, 157n.85/12
Rothko, Mark, 30
Royal Academy of Art, 13
Rubens, Peter Paul, 74, 135
Ruskin, John, 3
Rwandan refugee camp at Benako, Tanzania (Salgado), 21
Salgado, Sebastião, 21, 46, 97
Salon des Refuses, 107
Sappho, vii Sartre, Jean-Paul, 74
Sassetta (Stefano di Giovanni), 51
Scanlon, Thomas M., 89, 158n.90/1
Scarry, Elaine, 127, 133, 163n.121/5
Scharff, Aaron, 163n.119/3
Schematic Drawing for Incomplete Open Cubes (LeWitt), 50
Schjeldahl, Peter, 77
Schopenhauer, Arthur, 5–6, 8–9, 11–13, 121
Seated Bather (Bouguereau), 25–27, Pl. 4
Seated Bather (La Baigneuse) (Picasso), 24, 27–28, Pl. 3
Seinfeld, 94
Self-hybridations precolombiennes no. 1 (Orlan), 40
Self (Quinn), 38
sexual desire: appearance and, 18–19
attraction to another person, as an element of, 54–55
beauty and the dangers of, 9–11
paederasty, 6–7
Plato’s embrace of, 6–7, 9
Schopenhauer’s denunciation of, 8–9. See also erōs
sexuality, attitudinal impact of, 139n.2/24
Shakespeare, William, 43, 61, 64, 83, 128
Sibley, Frank, 150n.49/3
Simple Heart, A (Flaubert), 76
Site (Morris), 112
Snake Charmer, The (Gérôme), 109
Sontag, Susan, 85, 88, 121, 164n.121/33, 165n.123/31
Soutine, Chaim, 46–47
Spin Suspension (Stelarc), 38
St. Elsewhere, 93, 128
St. Francis Giving His Cloak to a Poor Soldier (Sassetta), 51
St. John (Caravaggio), 138
St. Nicholas Delivers Three Unjustly Condemned Men from Death (Repin), 31
Star Wars (Lucas), 45
Steinberg, Leo, 25
Steiner, Wendy, 145n.28/16
Stelarc (Stelios Arcadiou), 38
Stendhal (Marie-Henri Beyle), 63–64
Stewart, Martha, 89
Stieglitz, Alfred, 37
Strauss, Richard, 82–83
style, 85–90
symmetry, 16, 64–65, 93–94, 154n.65/20
Symons, Donald, 65
Symposium (Plato): the arts excluded from the objects of erōs in, 73, 155n.74/2
beauty as a force that draws its lovers along, 120–21
desire, celebration of, 6
love, beauty or ugliness and, 61–62
love of beauty as the life of philosophy, 2, 130, 132
taste: differences in, aesthetics and, 51–52
judgment of, 75–81
judgment of as provoking social interaction, 77–82
style as, 85–90
uniformity in judgments of, nightmare of, 83–84. See also judgment of beauty
television, implications of watching, 128–30
Tennyson, Alfred, 34–35
Tertullian, 128
theater, 166n.128/32
Therese Dreaming (Balthus), 18
Three Musicians (Picasso), 31
Timaeus (Plato), 153n.65/3
Titian (Tiziano Vecellio): Portrait of a Young English Gentleman, 74
Velasquez and, significant differences in the paintings of, 135
Venus of Urbino, 10, 107–8, 112, 116, 163n.116/18
Toilet Brush (Graves), 20
Toilette, La (Boucher), 114, Pl. 12
Tolstoy, Leo, 38
Tournier, Michel, 124
Transfiguration of Christ (Raphael), 22
Treves, Frederick, 59
Trump, Donald, 110
Trump, Ivana, 110
Tuttle, Richard, 45–46
Twain, Mark, 10–11
ugly/ugliness: direct personal experience of/repelled by, 151–52n.59/7
impossibility of seeing friends as, 59
love and, 60–63
moral disapproval and, 59–60
uncertainty, 130–31, 136–38
Untitled (Ring with Light) (Morris), 46
Untitled (Rothko), 30
Urmson, J. O., 159n.92/15
van Gogh, Vincent, 17–18, Pl. 1
Velasquez, Diego Rodriguez de Silva, 112, 134–35
Velleman, J. David, 151n.57/22
Vendler, Helen, 61, 152n.61/7
Venus, statue of in Cnidus, 73
Vénus Anadyomene (Ingres), 41, 107, 112, 163n.116/18
Vénus bleue (Blue Venus) (Klein), 52, Pl. 8
Venus of Urbino (Titian), 10, 107, 112, 163n.116/18
Venus with a Mirror (Rokeby Venus) (Velasquez), 112, 126
Vermeer, Johannes, 93, Pl. 10
View of Delft (Vermeer), 93, Pl. 10
Virgin Hodegetria (known as “Glykophilousa”), 121
Virgin Hodegetria (Papas), 85
Visual Art Critic, The: A Survey of Art Critics at General-Interest News Publications in America, 142–43n.15/3
Ward, Humphrey, 78–79
Warhol, Andy, 38
What Good Are the Arts? (Carey), 95
What is Art? (Tolstoy), 38
Whistler, James Abbott McNeill, 78–79, 110
Wilde, Oscar, 3, 78, 124, 136
Williams, Bernard, 158n.89/33
Williams, William Carlos, 24
Winckelmann, Johann Joachim, 16
Wittgenstein, Ludwig, 17, 55
WKRP in Cincinnati, 94
Wood, Natalie, 59
Wright, Alastair, 145n.24/14
Yeats, William Butler, 151n.58/28
Zangwill, Nick, 144n.17/13
Zemach, Eddy M., 165n.123/32
Zola, Émile, 40–41, 148n.41/9
Zygotic acceleration, Biogenetic desublimated libidinal model (Chapman, Jake & Dinos), 46