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Index
Elizabeth Prettejohn
Description: Art for Art’s Sake: Aestheticism in Victorian Painting
Art for Art’s Sake: Aestheticism in Victorian Painting
Index
Author
Elizabeth Prettejohn
PublisherPaul Mellon Centre
Copyright© 2007 by Elizabeth Prettejohn
Stable URL: https://aaeportal.com/?id=-31938
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Index
‘absorption’
Rossetti’s work 39
Solomon’s work 80, 82, 84–5
abstraction and Moore 104, 120, 125, 126–7
acoustics 125
‘aesthetic’
Coleridge on 3–4
in Pater’s essay on Morris 258–9, 260–1, 270
use of term 4, 31–2, 34, 260–2
‘aesthetic criticism’ 12, 260–2, 264–71, 270, 272, 273–8
Aestheticism/Aesthetic Movement
application of terms 1
artistic collaborations 29–30, 38–9, 114–15
cosmopolitanism 2, 4
elusiveness of movement 1
feminine construction 26–8, 34
periodization 2, 11–12
transition to 258–9
‘universal formulas’ on 5
vocabulary of 33–4, 281 see also ‘art for art’s sake’; literary Aestheticism
aesthetics
German philosophical tradition 3, 5, 31, 91, 129–30
and sexuality 75–7
allegory in Rossetti 230–1
anachronism in Leighton’s art 134
‘analytic’: use of term in art criticism 32
androgynous figures 42, 74–5, 82–3, 87, 90–1, 97, 292n
and equality of aesthetic response 83–4
Antinous 87, 91, 95
antiquarianism 266
Antinous Bas-Relief 95
Apelles: Venus Anadyomene 145
Apollo, cult of 153, 154–8
Apollo Belvedere 306n, 307n
Apoxyomenos (Lysippan sculpture) 95
Apuleius: Metamorphoses 145
Aquinas, St Thomas 221
architecture and ‘art for art’s sake’ principle 31
Arnold, Matthew 260, 273
Culture and Anarchy 51–2
‘art for art’s sake’
historical record of usage 3, 6–7, 31, 32, 33–4, 37, 281
as statement of problem 2–3, 5 see also art pour l’art
art criticism 1, 4–5, 31–2
Aesthetic attacks on 45–6
critiques of Pater’s style 260
and decorative approach of ‘art for art’s sake’ 244
dislike of effeminacy 73–4, 82, 83
and homoerotic in Solomon’s work 73–4, 82, 83
and Moore 105
and passive male figures 77–82
realism favoured by 233–4
‘scientific criticism’ of art 277
Swinburne as critic 55–64
and terminology of Aestheticism 33, 260–1, 281
and use of ‘art for art’s sake’ 6–7, 31, 32, 33, 65
and Whistler’s ‘eccentricity’ 163–5, 168, 169–75
Whistler’s interaction with 166–7, 191–2 see also ‘aesthetic’: use of term; ‘aesthetic criticism’
art history 6, 8–9
influence of Modernism 9
and literature 201–2
Pater’s ‘Winckelmann’ essay 254, 262
periodization of Aestheticism 2, 11–12
privileging of French art 267, 279 see also historicism in art
art pour l’art, l’ 3, 31, 38, 58, 65, 112, 167
artistic collaboration 38–9, 114–15, 208, 249
Asleson, Robyn 125
Athenaeum and Whistler’s White Girl 166, 168
Atkinson, Joseph Beavington 255
autonomy of art: Modernist view 193–4
Bacchanalian symbolism in Solomon’s work 87, 91–5
Baldry, Alfred Lys 121–3, 126
Bann, Stephen 316n
Baudelaire, Charles 37, 175, 190
‘correspondences’ in art 204, 275
‘Notes nouvelles sur Edgar Poe’ and Swinburne 38, 48–51, 53–5
‘The Painter of Modern Life’ 20, 61–2, 257, 259, 271, 327n
and Pater 259, 271, 275
Swinburne’s Spectator review 43–8, 167
Baumgarten, Alexander Gottlieb 3
Bell, Clive 6, 193
Benjamin, Walter 48
Berkeley, George 268, 276
Blake, William 38, 48, 201, 278 see also Swinburne: William Blake
Boccaccio, Giovanni: Decameron 209, 211
Bois, Yve-Alain 299n
Botticelli, Sandro
Pater essay 259
Portrait of a Lady known as Smeralda Bandinelli 228, 228, 231
Primavera 228
Bouguereau, William 122, 130–1
Boyce, George Price 29, 30, 186
and flesh-painting debate 108, 109, 221
and Rossetti’s Bocca Baciata 39, 40
Boyce, Joanna 15–16, 25–6, 27
Brickdale, Eleanor Fortescue 11
Brown, Ford Madox 184
Browning, Robert 302n
Buchanan, Robert
and Rossetti’s ‘Blessed Damozel’ 202
‘The Fleshly School of Poetry’ 64, 109, 216–17, 220, 222
Bullen, J. B. 38–9
Burden, Jane see Morris, Jane
Burne-Jones, Edward 8, 233–53
androgynous figures 42, 83, 97
and ‘art for art’s sake’ 244–7
and decorative arts 235–6, 238, 241, 243, 246, 248, 253
Medievalism 266
and Michelangelo 227, 259–60
and realism of modernity 233–5
rift with Morris 248–9, 253
and Rossetti circle 7, 29, 30
and Rossetti and Solomon 30, 109, 188, 240–1, 255
Solomon’s influence 96
in Whistler-Ruskin trial 185, 187, 188
WORKS
The Artist Attempting to Join the World of Art with Disastrous Results 234, 235
The Beguiling of Merlin 236, 237, 240
The Blessed Damozel 203, 203
The Briar Rose series 235–6, 241
Cupid and Psyche series 241, 242
The Days of Creation 236, 238, 240, 241
Earthly Paradise illustrations 236, 241–2
Fair Rosamund and Queen Eleanor 38
Fides 238
The Fifth Day 232, 239
The Golden Stairs 26, 243, 244–7, 245, 249
The Hand Refrains 242
Holy Grail tapestry series 243, 253
Kelmscott Chaucer illustrations 234–5
King Cophetua and the Beggar Maid 249–53, 250, 252
Laus Veneris 243
The Mill 240, 240
Perseus series 241, 242, 243
Phyllis and Demophoön 236, 236, 262
The Romaunt of the Rose 243
St George 238, 239, 240
St George and the Dragon series 241, 242
A Sibyl 238
Spes 238
The Story of Pygmalion 241, 242
Temperantia 238
Venus’ Mirror ii, 236, 240, 241, 262, 264, 278
The Wedding of Psyche 242, 243
The Wheel of Fortune 240, 241
Burne-Jones, Georgiana 248, 249
Burton, Richard 157
Busst, A. J. L. 297n
Butler, Christopher 286n
Cabanel, Alexandre 130–1
Carr, Joseph Comyns 132, 169
Carrière, Eugène 98
Cavalcaselle, G. B. 277
censorship 46–7, 66–7, 68
Cézanne, Paul 9, 120
Fry on 193, 312n
chance: role in creation of art 16, 27
Christ Church, Oxford: Four Musical Angels panel 21, 23, 28
Clark, Kenneth 274
classical art
and Solomon’s work 95–6 see also Greek art
classicism 258
of Leighton 132–61, 188–9
Leighton and Moore 116, 117, 188
and Postmodern art 160–1
and Whistler 188–9
Clements, Patricia 271
Cobbe, Frances Power 31
Coleridge, Samuel Taylor 3–4, 230, 256–7
collaboration see artistic collaboration
Collins, Charles 16
Collins, Wilkie: The Woman in White 164, 166
Colonna, Vittoria 227
colour and Aestheticism 223–4
Colvin, Sidney 7, 9, 255, 260, 274, 293n, 295n
‘English Painters and Painting in 1867’ 30–1, 108, 109
on Leighton 142, 157–8
on Moore 104, 108, 110, 118
on perfection of forms and colours 148, 188
on Rossetti 205, 215, 221–2
on Whistler 181
‘common sense’ school 31
Cornforth, Fanny 40, 218
‘correspondences’ in art 204, 205, 275
Costa, Giovanni (‘Nino’) 308n
Courbet, Gustave 112, 164, 168, 184, 233, 234
L’Éternité 174, 174
Courthope, W. J. 215–16, 260, 270
Cousin, Victor 3, 31, 289n
Cowper, Frank Cadogan 11
criticism see ‘aesthetic criticism’; art criticism
Crowe, J. A. 277
Daddi, Bernardo (attrib.): Four Musical Angels 21, 23, 28
dado decoration 7
Dallas, Eneas Sweetland: The Gay Science 31
Dante
Divine Comedy 202, 206, 221
and Rossetti 202, 205–8, 209, 221, 226–7, 228, 230
Vita Nuova 202, 206, 226–7, 228, 230, 231
Davis, Whitney 89, 95, 297n
de Man, Paul 230, 281
De Stijl artists 299n
Debussy, Claude: La Damoiselle élue 204
‘decorative’ approach to art 108, 109, 118, 198, 244
decorative arts 29
Burne-Jones 235–6, 238, 241, 243, 246, 248, 253
Morris on pleasurable labour 246–7, 248
Degouve de Nuncques, William 98
Denis, Maurice 193, 199
La Damoiselle élue 204, 204
Derrida, Jacques 160, 288n
design see decorative arts
Dilke, Sir Charles 301n
Disraeli, Benjamin: Lothair 154–5
Dowden, Edward: ‘French Aesthetics’ 31
drapery: Greek classicism 137, 138
du Maurier, George 1, 29–30
Eastlake, Elizabeth, Lady 286n
‘effeminacy’ in art 26–7, 73–4, 82, 83
Rossetti and Dante 206
Eisenman, Stephen 244
Elgin (Parthenon) Marbles 137, 265
Eliot, T. S. 6, 205, 279
‘English Renaissance’ 7, 8, 258, 278, 279
eroticism and art for art’s sake 38–42
Etty, William 303n
Euripides: Iphigenia in Tauris 139
Fantin-Latour, Henri 80, 112, 168, 312n
female figure in Aesthetic art 26, 28
eroticism of Rossetti’s Bocca Baciata 38–42
nudes in French art 44, 45 see also nudes
feminine and Aestheticism 26–8, 34, 199
Field, George 300n
Field, Michael 1
Fine Arts Quarterly Review 32
Flandrin, Hippolyte: Jeune homme nu 44, 45, 48, 90, 135
Flaubert, Gustave 68
‘flesh’ and Rossetti circle 220–2
flesh-painting debate 108–9, 188, 221
‘Fleshly School’ 1, 270–1, 279 see also Buchanan, Robert
formalism 6, 9, 31
Foucault, Michel 215
France
art theories 3, 31
nudes in art 44, 45
Romanticism 3 see also art pour l’art, l’
Fraser’s Magazine 4, 31
‘free beauty’ 18–19, 20, 21, 25, 26, 28, 191
and androgyny 83–4
physical beauty and erotic 40, 42
French Academy 130, 131
Fried, Michael 80, 310n
Fry, Roger 6, 9, 31, 274
on Cézanne 193, 312n
on Whistler 193, 198
Gautier, Théophile 37, 54, 58, 169
on an ‘idea in painting’ 146, 148
on l’art pour l’art 65, 216
Journal des Goncourt 85
Mademoiselle de Maupin 40, 42, 44, 45, 46, 48, 51, 62, 191
gender: separate spheres 26
‘genius’ and aesthetic art 19
geometrical grid system
in Modernist art 104
Moore’s use of 103–4, 112, 119–22
German philosophical tradition
aesthetics 3, 5, 31, 91, 129–30
devaluation of idealism 5 see also Hegel; Kant
Gilbert, W. S.: Patience 7
Gilchrist, Alexander 48
Giorgione 12, 35, 159, 166, 190, 193, 277–8
Girodet-Trioson, Anne-Louis 90
Goethe, Johann Wolfgang von 264, 265, 271
Faust 220
Iphigenie auf Tauris 139
Gosse, Edmund 255, 271
Grant, Sir Francis 33
Greek art
and androgyny 83
‘decadence’ of 74
and Leighton’s classicism 136, 137, 139–49, 151
and Moore 123, 126
in Pater’s essays 265, 266, 271
sculpture 137, 140, 141, 271
‘Greek love’ 74
Greek mythology 152–8
and homosexuality 307–8n
Greenberg, Clement 9, 116, 160, 193–4, 275
grid system see geometrical grid system
Grieve, Alastair 37
Grosvenor Gallery, London 7, 185–6, 271–2, 276, 278
Guys, Constantin 20, 61–2
Hallam, Arthur Henry 11
Hamerton, P. G. 32–3, 48
Hamilton, Walter: The Aesthetic Movement in England 7, 8, 34, 253
Hamilton, Sir William 31
harmony 125–6
Hay, David Ramsay 125–6, 127
Hedonism 271, 279
Hegel, Georg Wilhelm Friedrich 3, 34
Aesthetics 31, 148, 156, 190
on anachronisms 134
and art for art’s sake 158–9
on classical drapery 138
on classicism in art 138–9, 151, 158–9, 160–1, 188–9
on Greek sculpture 140, 141
Leighton’s interest in 129–30, 131–2, 151, 160
Pater and historicism of 159–60, 264, 266, 267, 268, 270, 279, 281
hegemony
in art criticism 46
of heterosexual eroticism 77
Hellenism 137
Hesiod 153, 154
historicism in art 34, 134, 151, 159, 161, 264, 266–7, 279, 281
Holiday, Henry 95
Hollyer, Frederick: Sacramentum Amoris (after Solomon) 73
Homer 78, 154
homoeroticism
and Modernism 279
in Solomon’s work 72–99
‘homosexual’: introduction of term 292n
homosexuality
and Aestheticism 26, 72–99
and Greek myths and culture 307–8n
Victorian ‘homosexual code’ 89–90, 296n, 306n
Hotten, John Camden 47
Hughes, Arthur 7, 8, 29, 30, 39
Hugo, Victor 3, 37, 278
L’Année terrible 65–6, 67, 68
Hume, David 53, 268
Hunt, William Holman 39, 208
The Awakening Conscience 39, 40
‘idealism’ 76, 84, 85, 98, 99
art as expression of ideas 146, 148
devaluation of 5
Illustrated London News 244, 246
Impressionism 34
Ingres, Jean-Auguste-Dominique
La Source 44, 45, 48, 112, 135
Valpinçon Bather 149
Whistler’s admiration 112
Inman, Billie Andrew 256, 272, 276
instrumentalism and art 52–5
intention as antithesis to aesthetic 18–20, 34
Iser, Wolfgang 270
Jackson, Michael 294n
Jakobson, Roman 201
James, Henry 164, 189–90
Japanese art 123, 126, 181, 290n, 300n, 311n
Jewish symbolism in Solomon’s work 86–7, 90, 95
Joachim, Joseph 131
Joyce, James 205
‘judgement of taste’ (Kant) 17–19, 20, 26, 27–8
Julian the Apostate, Roman emperor 156
Kandinsky, Wassily 125, 127
Kant, Immanuel 34, 49, 191
Critique of Judgement 3, 5, 17–19, 26, 28, 62, 83–4, 264–5, 273, 276
idealism 5
and Pater’s aesthetic theory 264–5, 268, 270, 273, 276, 281
Kaufmann, Walter 286–7n
Keats, John 1
Klee, Paul 201
Klimt, Gustav: Danaë 146, 146
Krauss, Rosalind 104
labour and art 246–7
Landseer, Sir Edwin 33
Le Sidaner, Henri 98
Leavis, ER. 6
Lee, Vernon 1, 325n
Legros, Alphonse 80
Leighton, Frederic 3, 38, 131
as ‘academic’ painter 130–1, 132, 139, 149, 151–2, 160
Addresses to Royal Academy students 130–2, 148, 153–4, 156, 171, 188, 308n
and Aestheticism 32, 33, 131, 190
androgynous figures 42, 83
classicism 116, 117, 132–61, 188–9, 258
defence of nude in public art galleries 304n
interest in Hegel 129–30, 131–2, 151, 160
library contents 307n
and Little Holland House/Holland Park circle 7, 29, 30, 33, 108
and Moore and Whistler 30, 109, 112–18, 188
and pagan religion 152–8
political views 308n
and religion 151–4
and Whistler-Ruskin trial 118, 185, 188
WORKS
Ariadne abandoned by Theseus 307n
Athlete Wrestling with a Python 307n
The Bath of Psyche 144, 145
Cimabue’s Celebrated Madonna is Carried in Procession Through the Streets of Florence 133
Clytie 153, 153, 154, 155
Cymon and Iphigenia 145
Daedalus and Icarus 96, 149, 150, 153, 157, 294n
The Daphnephoria 83, 152–3, 152
Duett 293–4n
Elijah in the Wilderness 128, 142, 143, 149
Flaming June 145–6, 147, 148–9, 151, 154
A Girl with a Basket of Fruit vi, 135, 136
Golden Hours 82, 82
Greek Girls Picking up Pebbles by the Sea 115–16, 115, 151
Helen of Troy 144, 144
Helios and Rhodos 113, 153, 157–8, 157
Hercules Wrestling with Death for the Body of Alcestis 307n
Jonathan’s Token to David 142, 142, 149
Lieder Ohne Worte 134–5, 135, 312n
Orpheus and Eurydice 153
Pan 133
Psamathe 149, 149
Rustic Music 293–4n
St Jerome 142, 142, 157–8
Sibyl 307n
Spanish Dancing Girl: Cadiz in the Old Times 110–12, 111
Study for ‘Helios and Rhodos’ 113
Summer Moon 145, 145
Syracusan Bride 304n, 307n
The Triumph of Music 132–4, 133, 153
Venus and Cupid 133
Venus Disrobing for the Bath 112, 139–41, 139
Wise and Foolish Virgins altar mural 151
Leighton, Dr Frederic Septimus (artist’s father) 130, 158
Leonardo da Vinci 90
St John the Baptist 91, 94 see also Pater, Walter: on the Mona Lisa; Studio of Leonardo
Lessing, Gotthold Ephraim 77, 273
Laocoon 190, 193
Leyland, Frederick 175, 295n, 296n
‘Lieder ohne Wõrter’ 28, 33, 191
literary Aestheticism 1, 11
Swinburne 37–69
literature and art 190, 191, 193–4, 201–2
Rossetti’s art and poetry 215–16, 222–3, 231
Little Holland House group 7, 29–30, 33, 108
Loesberg, Jonathan 292n, 297n
London Quarterly Review 271
Lysippos 95
McGann, Jerome 55, 291n, 323n
on Rossetti 201, 202, 211, 217–18, 259, 286n
Malevich, Kasimir 125
Mallarmé, Stéphane 193, 194
Manet, Édouard 9, 31, 165–6
Le Déjeuner sur l’herbe 166, 215
Olympia 211, 212–13, 212, 215
and Rossetti 211–13, 214–15
Mantz, Paul 164, 166, 169
Mapplethorpe, Robert: Thomas 160, 161
Marston, Philip Bourke 216
Marx, Karl: Das Kapital 155
Mason, George Heming 7, 8, 30
mathematics and harmony 125–6
Mazzini, Giuseppe 65
Medievalism 23, 28, 34, 266
‘melting beauty’ 72
Mengs, Anton Raphael 151
Meredith, George 29
Swinburne and Modern Love 47–8
Merrill, Linda 186–7
Michelangelo
Bacchus 91, 95
Ideal Head of a Woman 227, 227
Pater’s essay 259–60, 272, 278
and Rossetti 227
Mill, John Stuart: On Liberty 46
Millais, Effie 15–16, 20
Millais, John Everett
Autumn Leaves 10, 12–21, 13, 27, 28, 34, 35
and Rossetti’s Blue Closet 21, 23, 26
Ophelia 164
Ruskin on 34–5
Miller, J. Hillis 202
Millet, Jean-François 80
‘modern’ and Pater’s essay on Morris 265, 266, 268
Modernism 6
Aesthetic borrowings 193
Aestheticism as feminized ‘other’ 27, 34
and autonomy of art 193–4
and geometrical grid system 104
influence on art criticism 9
Moore’s obtrusive materials 116
and Pater’s aesthetic criticism 274–5
and rejection of Aestheticism 279, 281
and Rossetti 201–2, 205
and Solomon 99
Mondrian, Piet 120, 125, 127
Monet, Claude 176
Moore, Albert 7, 8, 137, 217
and abstraction 104, 120, 125, 126–7
and ‘art for art’s sake’ 65
Baldry on working practices 121–3, 126
geometrical grid system 103–4, 112, 119–22
and harmony 125–6
and Leighton and Whistler 30, 109, 112–18, 145, 188
and Nature 122–3, 125
and Whistler-Ruskin trial 118, 185, 188
Whistler’s admiration for 168
WORKS
Apricots 107, 107
Azaleas 55, 57, 58, 107
Dreamers 100, 101–3, 102, 106–7, 120
Elijah’s Sacrifice 105, 105
The Musicians 110–12, 110, 118, 190
Nude Figure Study for ‘Birds of the Air’ 104
Pomegranates 107, 107, 116
A Quartet; A Painter’s Tribute to the Art of Music, A.D. 1868 118–20, 119, 190
Reading Aloud 120, 121, 123, 124
Sea Gulls 114, 114, 115–16
The Shulamite 105–6, 106, 107
Study for ‘A Venus’ 113
A Venus 108, 112, 116, 117, 118, 126, 140
Yellow Marguerites 103, 103
Moore, George 312n
on Whistler 199
moral influence of art 46–7, 50–1
Buchanan’s ‘Fleshly School’ review 216–17, 220, 222, 270–1
Morice, Charles 163
Morley, John 255, 261
Morris, Jane (née Burden) 223–7, 228, 231
Morris, William 244, 255
and ‘art for art’s sake’ 253
on decorative art and pleasurable labour 246–7, 248, 249
‘The Decorative Arts’ 248, 271
The Defence of Guenevere 23–6, 27, 28, 34, 258
The Earthly Paradise 145, 236, 241–3, 258
and ‘Fleshly School’ review 216
Hopes and Fears for Art 248
‘The Lesser Arts’ 248, 271
The Life and Death of Jason 258
News from Nowhere 247
Pater’s essay on 258–9, 265–71, 281
and Rossetti’s circle 7, 29, 215
socialism and rift with Burne-Jones 248–9, 253
Morris & Co. 1
Morris, Marshall, Faulkner & Co. 29, 235–6
Murillo, Bartolomé Esteban: Immaculate Conception of the Escorial 165, 165
music and art 111–12, 190–1, 275–6
Moore’s Quartet 118–20 see also harmony
Nesfield, W. E. 114
Nietzsche, Friedrich Wilhelm 286–7n
Nochlin, Linda 201, 214
‘nocturne’: use of term 175–6, 191
nudes
and ‘art for art’s sake’ 44
in French art 44, 45
and public display 304n
Whistler, Moore and Leighton’s ‘pure art’ 112, 114–15
Leighton’s Venus Disrobing 139–41
Old Water-Colour Society 236
Oliphant, Margaret 215, 270
O’Shaughnessy, Arthur 216
Oxford Union debating hall murals 28, 29, 38
Pacteau, Francette 294n
pagan religion and Leighton’s work 152–8
Parthenon frieze see Elgin Marbles
Pater, Walter 8, 20, 88, 255–81
‘aesthetic criticism’ 12, 258–9, 260–2, 264–71, 272, 273–8, 281
and Aestheticism 34, 256–7, 265, 269–72
Appreciations 159–60, 258, 302n
‘art for art’s sake’ usage 6, 33, 34, 65, 269, 281
on art criticism 5, 257
‘Coleridge’s Writings’ 256–7, 264
‘Fleshly School’ hostility towards 270–1
on Greek art 265, 266, 271
Hegel and classicism 140–1, 159–60
and Hegel’s historicism 159–60, 264, 266, 267, 268, 270, 279, 281
library reading 256
Marius the Epicurean 145
and mythology 152, 153, 154, 156
on ‘nocturne’ 175–6
Plato and Platonism 85, 97–8, 276
‘Poems by William Morris’ 6, 258–9, 265–71, 281
The Renaissance (Studies in the History of the Renaissance) 255, 257–62, 268–79
‘Conclusion’ 34, 87, 257, 259, 265, 268–71, 278, 279, 281
on Mona Lisa 26, 43, 63, 256, 259
‘Pico della Mirandula’ 259
‘The Poetry of Michelangelo’ 91, 227, 259–60, 272, 278
‘Preface’ 260–1, 270
‘Sandro Botticelli’ 99, 259
‘The School of Giorgione’ 106, 190, 193, 209, 272–8
‘Winckelmann’ 140–1, 257–8, 262, 264–5
and repetition 54
on Rossetti 221, 231, 270
and Rossetti circle 255–6
‘scientific criticism’ 277
on Solomon’s Bacchus 71
‘A Study of Dionysus’ 71, 89–90, 91
‘Style’ 68
and Whistler’s art 272–3, 278
Wilde’s meeting with 272
Patience (Gilbert and Sullivan opera) 7
Patmore, Coventry 28, 33
Pattison, Emily Francis Strong (later Dilke) 293n, 305n
Payne, John 216
Pheidias 137
‘Philistines’ 51–2
philosophy
aesthetics in German tradition 3, 5, 31, 91, 129–30
and Pater’s aesthetic criticism 268–71, 276 see also Hegel; Kant; Plato
physical beauty
and erotic 40, 42
and Renaissance 279
Plato 87
Pater’s Plato and Platonism 85, 97–8, 276
Phaedrus 19, 96–7
Philebus 125
Republic 46, 67, 96
Symposium 83, 96, 97
‘Platonist’ as euphemism 74, 292n
Poe, Edgar Allan 1
Baudelaire’s ‘Notes nouvelles sur Edgar Poe’ 38, 48–51, 53–4
‘The Philosophy of Composition’ 202
‘The Poetic Principle’ 53, 54
‘The Raven’ 202
Swinburne on 46
politics and art 65–6, 67–8
Pollen, John Hungerford 29
Postmodernism
and classicism 160–1
and Rossetti 202
Pound, Ezra 205, 206
Poynter, Edward John 108, 227
Praxiteles
Aphrodite of Cnidus 145
Apollos 306n
Pre-Raphaelitism 29, 34–5, 255
demise 32
and periodization of Aestheticism 11, 12
Rossetti and principles of PRB 208
Tate Gallery exhibition (1984) 71
and transition to Aestheticism 258–9
Prinsep, Thoby and Sarah 29–30, 108
Prinsep, Valentine Cameron 29, 108
Proudhon, Pierre-Joseph 267
‘Puritans’ 51–2
Pythagoras 126
Quilter, Harry 215
realism 112, 164, 168, 233–4
Redon, Odilon 98
religious symbolism in Solomon’s work 86–90, 95
Rembrandt 196
Renaissance
and Pater’s study 258, 261, 277–9
Wilde’s ‘English Renaissance’ 7, 8, 258, 278, 279 see also Rossetti: ‘Venetian’ style
repetition 54
of beauty 20–1
Burne-Jones’s faces 241
Millais’ Autumn Leaves 20–1
Solomon’s repeating face 77–8, 97
Reynolds, Sir Joshua: Discourses 17, 77, 130, 131, 305–6n
Rhymers’ Club 1
Robertson, Graham 244
Romanticism
French Romanticism 3
and origins of Aestheticism 2
Rossetti, Dante Gabriel 185, 201–31
Aestheticism position 190
art and life and ‘art for art’s sake’ 204–5
art and poetry 222–3, 231
assimilation of past influences 96
breakdown 262
and Burne-Jones 30, 109, 188, 240–1
as critical problematic 201–2
and Dante 202, 205–8, 209, 221, 226–7, 228, 230
division of career 208–9
female alter egos 220
‘flesh’ in work of 220–2
and flesh-painting 108, 221
and ‘Fleshly School’ review 216–17, 220, 222, 270–1
‘inner standing point’ and poetry 214, 217, 286n
Jane Morris paintings 223–7, 2–31 London circle 6–7, 29, 30, 33, 80, 108, 109–10, 255–6
and Manet 211–13, 214–15
medievalizing in work 23, 28, 34
and Michelangelo 227, 260
Oxford Union project and circle 28, 29, 38
Pater on 221, 231, 270, 277
radical perspective 212–14
reluctance to exhibit 222
Ruskin on 34
and Sandys 114–15
sexuality
and appreciation of art 75–6, 77, 84
in art of ‘Venetian’ style 209, 211, 214
of Bocca Baciata 38–42
poetry and ‘Fleshly School’ attack 217, 220, 222, 270–1
and Solomon and Burne-Jones 30, 109, 188
stylized female faces 78
and Swinburne 38–9, 44, 53
Rosamond painting 38
Swinburne’s criticism of work 62–4
‘Venetian’ paintings 208–13, 214–15, 221, 222, 223
and Whistler’s frames 182
WORKS
Astarte Syriaca 223, 224, 226
Beata Beatrix 226
The Beloved 211, 213
The Blessed Damozel (painting) 203–4, 203
‘The Blessed Damozel’ (poem) 202–3, 217
The Blue Bower 190, 209, 210, 213, 221, 280
The Blue Closet 12, 21–6, 22, 27, 28, 34
Bocca Baciata xii, 26, 38–42, 41, 208–11, 213, 221, 222, 226
The Day Dream 223
La Donna della Finestra 200, 223, 228–30, 229, 231
Fair Rosamund 38
Fazio’s Mistress 211, 213, 218–20, 219
Found 211
‘Hand and Soul’ (story) 220
‘House of Life’ sonnets 217–18, 222
‘Jenny’ (poem) 213–14, 215
Lady Lilith 62–3, 63, 64, 212, 213, 214, 218, 220, 222, 226, 259
Life of Blake project 48
‘Nuptial Sleep’ (poem) 217, 222
Pandora 223
La Pia de’Tolomei 223
Poems 213–14, 215–18, 221, 222, 270
Proserpine 223, 225, 226
Reverie 223
The Salutation of Beatrice 206–7, 207
Sibylla Palmifera 62, 63, 64, 222, 226
Silence 223, 224
‘The Stealthy School of Criticism’ 216, 222
Venus Verticordia 85, 211, 226
Water Willow 223
Rossetti, Gabriele 205, 206
Rossetti, William Michael 29, 30, 31, 33, 216
on body and soul in Rossetti’s work 226
on La Donna della Finestra 228, 230
Life of Blake project 48
on Moore’s Azaleas 107–8
on Pre-Raphaelites 32
and Swinburne 37
and Whistler-Ruskin trial 188
Rousseau, Henri (Le Douanier) 201
Ruskin, John 255
on Aestheticism of Rossetti and Millais 34–5
attack by Lady Eastlake 286n
on Burne-Jones 240
‘Definition of Greatness in Art’ 273
on Leighton 304n
on Michelangelo 227, 259–60, 272
and Rossetti’s Venus Verticordia 85
on use of ‘aesthetic’ 4, 261
Whistler review 185–6
Whistler’s lawsuit and trial 118, 164, 186–8
Sandys, Frederick 29, 108, 114–15
Medea 58, 59
Sargent, John Singer 1
Sartoris, Adelaide 157
Saturday Review 255
Schiller, Friedrich: Aesthetic Letters 72, 84, 96, 275, 327n
‘scientific criticism’ of art 277
Scott, William Bell 255
sculpture: Greek art 137, 140, 141, 271
sensory perception in Pater’s aesthetic criticism 268–9, 271, 274, 276
Seurat, Georges 120
sexuality
and appreciation of art 75–7, 83–4
and ‘Fleshly School’ hostility 217, 220, 222, 270–1, 279
of Rossetti’s Bocca Baciata 38–42
and Rossetti’s ‘Venetian’ style 209, 211, 214 see also homosexuality
Shakespeare, William: Othello 65
Sharp, William 205
Shaw, John Byam Liston 11
Shrimpton, Nicholas 255
Sickert, Walter 145
Siddall, Elizabeth 202, 228
Siewert, John 177
Sinfield, Alan 292n
Sizeranne, Robert de la 249, 251
‘social tyranny’ and art criticism 46, 47
Sodoma (Giovanni Antonio Bazzi) 90, 91
St Sebastian 95
Testa di giovanotto coronato d’alloro 94
Solomon, Simeon 8, 71–99, 105, 262, 303n
‘absorption’ of figures in work 80, 82, 84–5
androgynous figures 42, 82–3, 87, 90–1, 185
classical influences 95–6
and ‘Fleshly School’ review 216
passive male religious figures 77–82
repeating face in work 77–8, 97
and Rossetti and Burne-Jones 30, 109, 188, 255
and Rossetti’s art 220
and Rossetti’s London circle 7, 29, 30
symbolism of accessories in work 86–90
WORKS
Bacchus 71, 77, 80, 86–7, 91–5, 92–3
The Bride, the Bridegroom and Sad Love 87–8, 89
The Bride, the Bridegroom and the Friend of the Bridegroom 87–8, 89
Carrying the Scrolls of the Law 70, 80, 81, 86
Dante’s First Meeting with Beatrice 71
Dawn 91
Habet! 43
Heliogabalus, High Priest of the Sun 77, 78, 78, 295n
In the Temple of Venus 87
Love in Autumn 80, 80
The Mystery of Faith 77, 79, 80, 84–5, 86
The Painter’s Pleasaunce 71
Sacramentum Amoris 73–4, 73, 86–7, 88, 296n
A Saint of the Eastern Church (A Greek Acolyte) 74–5, 76, 86, 87
Sappho and Erinna in a Garden at Mytilene 80, 87, 88
A Song (A Prelude by Bach) 74, 75, 87, 190
Two Acolytes, Censing, Pentecost 80
A Vision of Love Revealed in Sleep (poem) 96
The Winged and Poppied Sleep 99
A Youth Relating Tales to Ladies 87
Stanhope, John Roddam Spencer 29
Steinle, Edward von 152
Stephens, F. G. 33, 134–5, 168–9, 209, 221
Stillman, W. J. 260
Studio of Leonardo: Bacchus (St John the Baptist) 91, 94
Sullivan, Sir Arthur 7
Surrealism: automatic techniques 34
Swinburne, Algernon Charles 6, 7, 20, 37–69, 91, 110, 216, 262, 292n
‘Anactoria’ 26
art criticism 55–64, 191–3
Atalanta in Calydon 137
Baudelaire review 43–8, 112, 167
‘Faustine’ 42–3
on Hugo’s L’Année terrible 65–6, 67, 68
and Ingres 112
and Leighton’s work 158
Lesbia Brandon 297n
and Meredith’s Modern Love 47–8
and Moore 108
‘Nocturne’ 175
Notes on the Royal Academy Exhibition, 1868 (with W.M. Rossetti) 109
and paganism 155–7
and Pater 255, 259
Poems and Ballads 37, 47, 52–3
Poems and Ballads, Second Series 157
‘The Last Oracle’ 156–7, 158
Rosamond 38
on Rossetti 39, 215, 222
and Rossetti’s circle 29, 38–9, 44
on Solomon 91, 222
The Mystery of Faith 84–5
Songs Before Sunrise 65, 297n
and Whistler 114, 167, 182, 191–3
William Blake 38, 48–52, 67
and Baudelaire’s study of Poe 48–51, 53–5
use of ‘art for art’s sake’ 33, 37, 50, 66
symbolism
Rossetti 230–1
and Solomon’s work 86–90, 98
Symbolists
irrational imagery 34
Rossetti’s legacy 230
Symonds, John Addington 227, 260, 293n, 297n, 307–8n
Symons, Arthur 198–9, 256, 310n
synaesthesia 28, 131
music and art 190–1
‘synthetic’: use of term in art criticism 32
Tate Gallery: Pre-Raphaelite exhibition (1984) 71
Taylor, Tom 6, 7, 33, 65
on Whistler 163–4, 169–72
and Whistler-Ruskin trial 188
Tennyson, Alfred, Lord
and Aestheticism 28
‘The Lady of Shalott’ 25, 26, 27, 34
Thoré, Théophile 267
Tissot, James: Study for ‘Mr. Frederic Leighton, A.R.A.’ 131, 131
Titian
and Manet 211, 212
Woman with a Mirror 211, 218, 218
Tudor House, Chelsea: Rossetti’s London circle 6–7, 29, 30, 33, 80, 108, 109–10
Turner, J. M. W. 153
Uberti, Fazio degli 218
Velázquez 181, 196, 215
Venetian Renaissance art 277–8 see also Rossetti: ‘Venetian’ paintings
Venus 115
Venus de Milo 126, 126, 140, 265
Veronese 258
Wedding Feast at Cana 211
Vitruvius 126
Voltaire, François Marie Arouet de: Mahomet 65
Wagner, Richard 185
Walker, John Hanson 293–4n
Warner, Malcolm 17
Watteau, Jean-Antoine: Pierrot (Le Grand Gilles) 165, 165
Watts, George Frederic 7, 8, 29, 109, 185
Ariadne 137
on classical sculpture 137
and Leighton 30, 145
The Wife of Pygmalion 36, 55, 56, 58
Watts, Theodore (Watts-Dunton) 226
Wells, Henry Tanworth 108
Westminster Review: on Solomon’s work 73–6, 83, 86
Whistler, James McNeill 1, 7, 80, 137, 163–99
and Aestheticism 32, 33, 167, 187–8, 192, 217, 244, 247
visual art position 190
and art criticism 45, 163–4, 166–7, 169–75, 191–2
art theory 166–7, 181–4, 186–7, 191–3, 194, 274–5
and colour 176–7
‘eccentricity’ 163–5, 166, 168
feminine dimension to art of 199
frames 181–2
and French art tradition 3, 164–6, 167–8
and Moore and Leighton 30, 109, 112–18, 188
Nocturnes 175–81, 181–2, 191, 198
and ‘painter’s poetry’ 175, 198, 274
Pall Mall solo exhibition 184–5
and Pater 272–3, 278
repudiation of realism 112
and Rossetti’s circle 29, 33, 109–10
Ruskin lawsuit and trial 118, 164, 185–6, 186–8, 276
series paintings 176–7
and Swinburne 114, 167, 182
Swinburne on ‘Six Projects’ 59–62, 64
‘Ten O’Clock’ lecture 8, 191, 192, 193, 199, 274, 299n
titles of works 175–7, 182, 191, 276, 316n
WORKS
Arrangement in Grey and Black: Portrait of the Painter’s Mother 26, 169, 194–8, 195, 197
The Balcony 169, 171
The Gentle Art of Making Enemies 186
Harmony in Blue-Green – Moonlight 172–5, 177
The Little White Girl (No. 2) 110, 169, 170, 182, 182
Nocturne: Blue and Gold – Old Battersea Bridge 177, 179, 183, 186–7
Nocturne: Blue and Gold – Southampton Water 180, 180
Nocturne: Blue and Silver – Chelsea 162, 169, 173
Nocturne in Black and Gold: The Falling Rocket 186, 254, 262, 263, 278
Nocturne in Blue and Silver 176–7, 178, 179–80
Nocturne in Blue and Silver (Battersea Reach) 176–7, 178, 179
Nocturne in Blue and Silver – Cremorne Lights 176–7, 179
Nocturne in Blue and Silver: The Lagoon, Venice 176–7, 180, 180
Nocturne in Grey and Gold: Chelsea Snow 189, 189
Nocturne in Grey and Silver 179
Nocturne: The River at Battersea 179
‘Six Projects’ 59–62, 64, 168, 188, 312n
Study for Crouching Figure in ‘The White Symphony: Three Girls’ 113
Symphony in Blue and Pink 114, 114, 115–16
Symphony in White, No. III 110–12, 111, 168–9
Symphony in White and Red 61
Variations in Blue and Green 60
Variations in Violet and Green 169, 172, 172
Venus 112, 113, 114, 126
The White Girl 32, 163–6, 164, 168, 169
The White Symphony: Three Girls 60
Wilde, Oscar 1, 185, 256
American lecture tour 7
‘The Critic as Artist’ 260, 315n
‘The English Renaissance of Art’ 7, 8, 258, 278, 279
Grosvenor Gallery review 271–2, 278
homosexuality and Aestheticism 72, 296n
and repetition 54
on Whistler’s ‘Ten O’Clock’ lecture 191
Winckelmann, Johann Joachim 83, 95
History of Ancient Art 17, 77, 265, 266
Pater’s essay on 140–1, 257–8, 262, 264–5
women and Aestheticism 26
Yeats, W. B. 1, 205, 256
Zola, Émile 31