Material Inspirations: The Interests of the Art Object in the Nineteenth Century and After

Cover
Material Inspirations: The Interests of the Art Object in the Nineteenth Century and After
Copyright
Dedication
Preface
	What Goes Without Saying
Acknowledgments
Contents
List of Illustrations
Introduction: Feeling for Things, or What Really Matters
	1. What Matters in Theory
		a. Demystification
		b. The Experiential School (i): Philosophical Sources and Sentiments
		c. The Experiential School (ii): Feeling for Things in Theory
		d. The Experiential School (iii): Encountering Things/Displaying Objects
		e. Realism: Art Works/Art Objects/Commodities
	2. (How) Art Matters in the Nineteenth Century
	3. A Note on Scope and Method
Part I: Interesting
	Chapter 1: Transfiguration
	Chapter 2: Desire and the Body of Inspiration
		1. “To neutralize ordinary urgencies”
		2. How the Painting was Finished: Representations of Old Masters and the Case of Raphael
		3. The Origin of Painting
		4. The Promise of Happiness and the Death of an Old Master
		5. Hesiod or Orpheus
	Chapter 3: “Strange Aphrodite”
Part II: Remains
	Chapter 4: Matter, Form, Abstraction: Mediation and the Reception of Antiquities
		1. Stone on Paper
		2. Collection and Copy
		3. Compendia: Image into Word
		4. Blake
		5. Mysterious Antiquity (Two Urns)
		6. Nature in History: From Abstraction to Form
	Chaper 5: The Experience of Form (Bewilderment at the Vatican in George Eliot and Vernon Lee)
	Chapter 6: Failure and Revision at the Vatican:Some Evidence from the Baedeker (an Interchapter)
	Chapter 7: Ruin and Allegory in Benjamin
Part III: Things, Personally
	Chapter 8: The Ruined Cathedral, Black Arts, and the Grave in Engraving: Ruskin and the Fatal Excess of Art
		1. The Ruined Cathedral
		2. Black Arts
		3. The Grave in Engraving
	Chapter 9: Pater at the Museum/Raphael’s Fortune
		1. The Nineteenth-Century Museum (Parnassus or the Dispute of the Sacrament)
		2. The Museum as Medium (Apollo or the Discobolus)
		3. The Museum as Emblem (The Most Religious City in the World)
		4. Raphael’s Genius
Endnotes
	Preface
	Introduction
	Chapter 1
	Chapter 2
	Chapter 3
	Chapter 4
	Chapter 5
	Chapter 6
	Chapter 7
	Chapter 8
	Chapter 9
Index