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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
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Author
Alexander Nehamas
PublisherPrinceton University Press
Copyright© 2007 by Princeton University Press
Stable URL: https://aaeportal.com/?id=-22122
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Color Plates
Plate 1. Vincent van Gogh, Church at Auvers-sur-Oise, 1890, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Réunion des Musées Nationaux.
Plate 2. Henri Matisse, Blue Nude, 1907. Reproduced by permission from The Baltimore Museum of Art: The Cone Collection, formed by Dr. Claribel Cone and Miss Etta Cone of Baltimore, Maryland, BMA 1950.228. Image is © 2006 Succession H. Matisse / Artists Rights Society (ARS).
Plate 3. Pablo Picasso, Seated Bather [La Baigneuse], 1930. Oil on canvas, 64 ¼ × 51". Mrs. Simon Guggenheim Fund. (82.1950) The Museum of Modern Art, New York, NY, USA. Reproduced by permission from Art Resource, NY. Pablo Picasso (1881–1973) © ARS, NY. Photo credit: Digital Image © The Museum of Modern Art / Licensed by SCALA / Art Resource.
Plate 4. William-Adolphe Bouguereau, Seated Bather, 1884. Reproduced by permission from Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA.
Plate 5. Edouard Manet, Olympia, 1863, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo Credit: Hervé Lewandowski, Réunion des Musées Nationaux.
Plate 6. Edouard Manet, Execution of Emperor Maximilian of Mexico, 1867, Staedtische Kunsthalle, Mannheim, Germany. Reproduced by permission from Art Resource, NY. Photo Credit: Erich Lessing.
Plate 7. Edouard Manet, Execution of Emperor Maximilian of Mexico (detail), 1867, Staedtische Kunsthalle, Mannheim, Germany. Reproduced by permission from Art Resource, NY. Photo Credit: Erich Lessing.
Plate 8. Yves Klein, Vénus bleue (Blue Venus), S 41, 1962. Pure pigment and synthetic resin on plaster, 27 × 13 × 7 in. 1970. Copyright: Yves Klein, ADAGP, Paris. Reproduced by permission from the Yves Klein Archives, Paris, France.
Plate 9. Damien Hirst, Alantolactone, 1992. Gloss household paint on canvas, 38 × 58 in. (96.5 × 147.3 cm) (10 × 15 spots). Copyright © the artist. Reproduced by permission from Jay Jopling, White Cube, London, UK.
Plate 10. Johannes Vermeer, View of Delft (detail), 1662, Mauritshuis, The Hague, Netherlands. Reproduced by permission from Art Resource, NY. Photo Credit: Scala.
Plate 11. François Boucher, A Lady on Her Day Bed (Presumed Portrait of Mme. Boucher), 1743. Reproduced by permission from The Frick Collection, New York.
Plate 12. François Boucher, La Toilette, 1742. Reproduced by permission from Museo Thyssen-Bornemisza, Madrid, Spain. Photo Credit: akg-images, London.
Plate 13. Edouard Manet, Olympia (detail), 1863, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo Credit: Hervé Lewandowski, Réunion des Musées Nationaux.
Halftones
Figure 1. Masolino da Panicale, The Original Sin, c. 1427, S. Maria del Carmine, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Scala.
Figure 2. Titian (Tiziano Vecellio), Venus of Urbino, c. 1538, Galleria degli Uffizi, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Alinari.
Figure 3. Arthur Hacker, Pelagia and Philammon, 1887. Reproduced by permission from the Walker Art Gallery, National Museums, Liverpool, UK.
Figure 4. Sir Peter Lely. Portrait of Nell Gwynne [1650–87] as Venus, with her son, Charles Beauclerk [1670–1726] as Cupid (oil on canvas), Army and Navy Club, London, UK. Copyright © Army and Navy Club, London, UK. Reproduced by permission from The Bridgeman Art Library Nationality/copyright status: English/out of copyright.
Figure 6. Balthasar Klossowski de Rola (Balthus), Therese Dreaming, 1938. Reproduced by permission from The Metropolitan Museum of Art, New York. All rights reserved.
Figure 7. Michael Graves, Toilet Brush. Reproduced by permission from Michael Graves and Associates. Photo credit: George Kopp.
Figure 8. Sebastião Salgado, Rwandan refuge camp of Benako, Tanzania, 1994. © Sebastião Salgado / Amazonas / nbpictures.
Figure 9. Robert Mapplethorpe, Elliot and Dominick, 1979. Reproduced by permission from The Robert Mapplethorpe Foundation. © The Robert Mapplethorpe Foundation, Art + Commerce.
Figure 10. William-Adolphe Bouguereau, The Nymphaeum, 1878. Reproduced by permission from The Haggin Museum, Haggin Collection, Stockton, California.
Figure 11. Raffaello di Sanzio (Raphael), The Transfiguration, 1518–20, Pinacoteca, Vatican Museums, Vatican State. Reproduced by permission from Art Resource, NY. Photo credit: Scala.
Figure 12. Kazimir Malevich, Black Square, c. 1923–30, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Jacques Faujour, CNAC / MNAM / Dist. Réunion des Musées Nationaux.
Figure 16. Edouard Manet, Le Déjeuner sur l’herbe (Luncheon on the grass), 1863, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Réunion des Musées Nationaux.
Figure 17. Mark Rothko, Untitled. © 1998 Kate Rothko Prizel and Christopher Rothko. Reproduced by permission from Kate Rothko Prizel and Christopher Rothko / Artists Rights Society (ARS), New York.
Figure 18. Pablo Picasso (1881–1973), Three Musicians, 1921. Oil on canvas, 6’7" x 7’3 ¾". Mrs. Simon Guggenheim Fund. (55.1949), The Museum of Modern Art, New York. Reproduced by permission from Art Resource, NY. Photo credit: © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY.
Figure 19. Ilya Repin, St. Nicholas Delivers Three Unjustly Condemned Men from Death, 1888, State Russian Museum, St. Petersburg, Russia. Reproduced by permission from The Bridgeman Art Library
Figure 20. Theodore G. Haupt, New Yorker. Reproduced by permission from Condé Nast Publications. Copyright © 1930 The New Yorker / Condé Nast Publications. Reprinted by permission. All rights reserved.
Figure 22. Bertall, The Cat’s Tail, or the Charcoal-seller of Batignoles. Wood engraving in L’Illustration, June 3, 1865.
Figure 23. Alfred Stieglitz, Fountain, Tate Gallery, London, UK, photograph of sculpture by Marcel Duchamp, 1917. Reproduced by permission from Art Resource, NY. Photo credit: Tate Gallery, London.
Figure 24. Andy Warhol, Brillo Box, 1965, The Museum of Modern Art, New York. Copyright The Andy Warhol Foundation for the Visual Arts / ARS, New York. Photo credit: Digital Image © The Museum of Modern Art / Licensed by SCALA. Reproduced by permission from Art Resource, NY.
Figure 25. Stelarc, Spin Suspension, 1997. Reproduced by permission from Stelarc. Photo credit: Helmut Steinhausser.
Figure 26. Feeding funnel (koropata), Maori peoples, Aotearoa, New Zealand, nineteenth century. Wood, 16.5 cm (6 ½ in.). Gift of William E. and Bertha L. Teel, 1991.1071. Reproduced by permission from the Museum of Fine Arts, Boston. Photo credit: © 2006 Museum of Fine Arts, Boston.
Figure 27. Orlan, Self-hybridations precolombiennes no. 1, 1999. Cibachrome collé sur aluminium, cadre: boite américaine, cornières et plexiglas Aide technique au traitement numérique des images: Pierre Zovilé.
Figure 28. Alexandre Cabanel, The Birth of Venus, 1863, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Réunion des Musées Nationaux.
Figure 29. Jean Auguste Dominique Ingres, Vénus Anadyomene, 1848, Musée Condé, Chantilly, France. Reproduced by permission from Art Resource, NY. Photo credit: Réunion des Musées Nationaux.
Figure 30. Jake and Dinos Chapman, Zygotic acceleration, Biogenetic de-sublimated libidinal model (enlarged × 1000), 1995. Mixed Media, 58 13/16 × 70 9/16 × 54 14/16 in. (150 × 180 × 140 cm). © the artists. Reproduced by permission from Jay Jopling / White Cube, London, UK. Photo credit: Diane Bertrand.
Figure 31. Robert Morris, Untitled (Ring with Light), 1965–66. Reproduced by permission from Monika Sprueth Philomene Magers, Cologne, Munich, Germany.
Figure 32. Chaim Soutine, Portrait of Man (Emile Lejeune), c. 1922–23. Reproduced by permission from ARS, New York. Photo credit: J. G. Berizzi, Réunion des Musées Nationaux / Art Resource, NY.
Figure 33. Sandro Botticelli, Annunciation, c. 1489, Uffizi, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Alinari.
Figure 34. Sandro Botticelli, La Primavera, c. 1478, Galleria degli Uffizi, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Scala.
Figure 36. Edouard Manet, Execution of Emperor Maximilian of Mexico, 1867–68. Reproduced by permission from National Gallery, London, UK. © The National Gallery, London, UK.
Figure 38. Sol LeWitt, Schematic Drawing for Incomplete Open Cubes, 1974. Reproduced by permission from the Wadsworth Athenaeum Museum of Art, Hartford, Connecticut. Sol LeWitt, born in Hartford, CT, 1928. Lives and works in Chester, CT. Ink and pencil on vellum; 12 × 12 inches. The Douglas Tracy Smith and Dorothy Potter Smith Fund, and partial gift of Carol and Sol LeWitt, 2001.8.139.
Figure 39. Stefano di Giovanni (Sassetta), St. Francis Giving His Cloak to a Poor Soldier, 1437–44. Reproduced by permission from the National Gallery, London, UK. Bought with contributions from the National Art Collections Fund, Benjamin Guinness and Lord Bearsted, 1934.
Figure 42. Photograph of John Merrick. Reproduced by permission from St. Bartholomew’s Hospital Archives and Royal London Hospital Archives. Copyright © St. Bartholomew’s Hospital Archives and © Royal London Hospital Archives. Courtesy of St. Bartholomew’s Hospital Archives and Royal London Hospital Archives.
Figure 43. Faces. Reproduced by permission from www.faceresesearch.org.
Figure 44. Peter Paul Rubens, Holy Family with St. Elizabeth (Madonna of the Basket), c. 1615, Galleria Palatina, Palazzo Pitti, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Scala.
Figure 45. Titian, Man with Bulging Eyes, c. 1545, Galleria Palatina, Palazzo Pitti, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Scala.
Figure 46. Madonna and Child, known as the “Pisa Madonna,” Florentine School, mid-13th century, Galleria degli Uffizi, Florence, Italy. Reproduced by permission from The Bridgeman Art Library Nationality.
Figure 47. Nicholas Papas, Virgin Hodegetria. Contemporary, Byzantine style.
Figure 48. Duccio di Buoninsegna, Madonna and Child, c. 1300, Metropolitan Museum of Art, New York. Reproduced by permission from The Metropolitan Museum of Art, New York. All rights reserved.
Figure 49. Jean Baptiste Siméon Chardin, La Pourvoyeuse (The Cateress), 1739, Louvre, Paris, France. Reproduced by permission from the Art Resource, NY. Photo credit: Erich Lessing.
Figure 50. Nicolas de Largillière, Portrait of Marguerite de Sève, 1729. Reproduced by permission from The Putnam Foundation, Timken Museum of Art, San Diego, California.
Figure 52. Piero della Francesca, The Baptism of Christ, c. 1450–55, National Gallery, London, UK. Reproduced by permission from Art Resource, NY. Photo credit: Erich Lessing.
Figure 53. Norman Rockwell, After the Prom, 1957. Licensed by and reproduced by permission from Curtis Publishing Co., Indianapolis, Indiana. C 1957 SEPS: www.curtispublishing.com. All rights reserved.
Figure 54. Jacques Louis David, Death of Marat, 1793. Oil on canvas, 165 × 128 cm. Louvre, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Erich Lessing.
Figure 55. Domenico Ghirlandaio, Old Man with a Child, c. 1489, Louvre, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Harry Bréjat, Réunion des Musées Nationaux.
Figure 56. John Currin, Heartless, 1997. Reproduced by permission from Gagosian Gallery.
Figure 57. Robert Motherwell, Elegy to the Spanish Republic No. 110, Easter Day, 1971. Acrylic with pencil and charcoal on canvas, 82 × 144 inches (208.3 × 298.6 cm). Reproduced by permission from the Solomon R. Guggenheim Museum, New York, gift, Agnes Gund, 1984, 84.3223.
Figure 58. Lucas Cranach the Elder, Apollo and Diana in Wooded Landscape, 1533, Gemaeldegalerie, Staatliche Museen zu Berlin, Germany. Reproduced by permission from Art Resource, NY. Photo credit: Bildarchiv Preussischer Kulturbesitz.
Figure 60. Titian (Tiziano Vecellio), Venus of Urbino, c. 1538, Galleria degli Uffizi, Florence, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Alinari.
Figure 61. Alexandre Cabanel, The Birth of Venus, 1863, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Réunion des Musées Nationaux.
Figure 62. Edouard Manet, The Negro Woman, 1862–63, Pinacoteca Gianni e Marcella Agnelli, Turin, Italy. Reproduced by permission from Art Resource, NY. Photo credit: Gilles Mermet.
Figure 63. Jean-Léon Gérôme, The Snake Charmer, c. 1870. Reproduced by permission from Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA.
Figure 64. Edouard Manet, The Old Musician, 1862, the National Gallery of Art, Washington, DC, USA. Reproduced by permission from Art Resource, NY. Photo credit: Erich Lessing.
Figure 67. Félix Jacques Moulin, A Moorish Woman and Her Maid, c. 1865. German. 18.1 × 22.8 cm (7 1/8 × 9 in.). Albumen silver. Reproduced by permission of The J. Paul Getty Museum, Los Angeles.
Figure 68. Nadar (Gaspard Félix Tournachon) (1820–1910), photograph of Charles Baudelaire (1821–67), c. 1843. French. Private collection; Archives Charmet, from the Bridgeman Art Library; out of copyright.
Figure 69. Edouard Manet, Portrait of Baudelaire [1821–67], etching. Copyright © Nationalmuseum, Stockholm, Sweden. Photo credit: The Bridgeman Art Library.
Figure 71. Félix Nadar, photograph of Edouard Manet, 1865, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Réunion des Musées Nationaux.
Figure 72. Louis-Camille Olivier, nude photograph, untitled. Reproduced by permission from George Eastman House, Museum Collection, Rochester, NY.
Figure 73. Edouard Manet, Olympia (detail), 1863, Musée d’Orsay, Paris, France. Reproduced by permission from Art Resource, NY. Photo credit: Hervé Lewandowski, Réunion des Musées Nationaux.
Figure 74. Christ Pantocrator, 6th century, Monastery of Saint Catherine, Mount Sinai, Egypt. Reproduced by permission from © Monastery of Saint Catherine, Mount Sinai, Egypt / Ancient Art and Architecture Collection Ltd. / The Bridgeman Art Library Nationality / copyright status: out of copyright.
Figure 75. Christ Pantocrator (detail), 6th century. Reproduced by permission from © Monastery of Saint Catherine, Mount Sinai, Egypt / Ancient Art and Architecture Collection Ltd. / The Bridgeman Art Library Nationality / copyright status: out of copyright.
Figure 76. Virgin Hodegetria (known as “Glykophilousa”), 14th century, Byzantine Museum, Athens, Greece. Reproduced by permission from Art Resource, NY. Photo credit: Werner Forman.
Figure 77. Edouard Manet, Music in the Tuileries Garden, 1862. © The National Gallery, London, UK. Reproduced by permission from The National Gallery, London, UK.
Figure 78. Diego Velasquez, The Little Cavaliers, c. 1650, Louvre, Paris, France. Reproduced by permission from Réunion des Musées Nationaux. Photo credit: Hervé Lewandowski.
Figure 79. Edouard Manet, The Little Cavaliers, 1858–59. Gift of Walter P. Chrysler, Jr. 71.679. Oil on canvas, 18 × 19 ¾ inches. Reproduced by permission of the Chrysler Museum of Art, Norfolk, VA.
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