Beauty and Art, 1750-2000, Prettejohn E., 2005

Beauty and Art, 1750-2000, Prettejohn E., 2005.

What do we mean when we call a work of art "beautiful"? How have artists responded to changing notions of the beautiful? Which works of art have been called beautiful, and why? Fundamental and intriguing questions to artists and art lovers, but ones that are all too often ignored in discussions of art today.
Elizabeth Prettejohn argues that we simply cannot afford to ignore these questions. Charting over two hundred years of western art, she illuminates the vital relationship between our changing notions of beauty and specific works of art, from the works of Kauffman to Whistler, Ingres to Rosetti, Cezanne to Pollack. Beautifully illustrated with 100 photographs--60 in full color--Beauty and Art concludes with a challenging question for the future: Why should we care about beauty in the twenty-first century?




Laocoön.
Of all the works of ancient art above ground in Winckelmann’s time, only a single one corresponded closely to a work documented in an ancient source: the Laocoön [3], unearthed in 1506 and instantly connected to a passage in Pliny that described a magnificent marble sculpture of the Trojan priest Laocoön, with his children, entwined in the coils of gigantic serpents (Laocoön’s punishment for warning the Trojans against the wooden horse left by the Greeks).

Contents.
Acknowledgements.
Introduction.
Chapter 1.Eighteenth-century Germany: Winckelmann and Kant.
Chapter 2.Nineteenth-century France: From Sta§l to Baudelaire.
Chapter 3.Victorian England: Ruskin, Swinburne, Pater.
Chapter 4.Modernism: Fry and Greenberg.
Afterword Notes.
Further Reading List of Illustrations.



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