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1 Honoré Daumier, Triste contenance de la Sculpture placée au milieu de la Peinture, lithograph (second state of two), 1857. Originally published in Le Charivari, July 22, 1857. Courtesy of the Metropolitan Museum of Art, Rogers Fund, 1922 3

2 Ernest Christophe, La Comédie humaine (Le Masque), white marble, 1876. Photograph by Rama, in the public domain, via Wikimedia Commons 7

3 (Attributed to) Nicolaes Ryckmans (with the assistance of Peter Paul Rubens?), Palazzo Doria Spinola, engraving on paper, 1622. Courtesy of the Rijksmuseum, Amsterdam 16

4 William Henry Fox Talbot, The Boulevards of Paris, salted paper print from paper negative, from The Pencil of Nature, 1843. Courtesy of the Getty Museum’s Open Content program 35

5 (a and b) William Henry Fox Talbot, two photographs of a bust, salted paper prints from paper negatives, from The Pencil of Nature, 1843. Courtesy of Wikimedia Commons, the Google Art Project, and the Metropolitan Museum of Art 36

6 (a and b), Plates V and VI from Richard Payne Knight, Specimens of Antient Sculpture: Aegyptian, Etruscan, Greek and Roman, vol. I, 1809. Text and images in the public domain. Digital scans by the author 37

7 Franz Xaver Winterhalter, Portrait of a Young Architect (Karl Joseph Berckmüller?), oil on canvas, 1830. Courtesy of the Musée de Picardie, Amiens. Photograph by Marc Jeanneteau/Musée de Picardie. Collection of Musée de Picardie, Amiens 40

8 Roger Fenton, The Third Graeco-Roman Saloon on Artists’ Day, British Museum, albumen prints on stereocard image, 1857. Courtesy of the Clark Art Institute, Williamstown, MA 43

9 Henri Le Secq, Tower of Kings at Rheims Cathedral, salted paper print from paper negatives, 1853 (from a negative made in 1851–53). Courtesy of the Getty Museum’s Open Content program 48

10 John Plumbe, daguerreotype of the U.S. Capitol Building, 1846. Courtesy of the Getty Museum’s Open Content program 51

11 Domenico Bresolin, photograph of the Palazzo Vendramin Calergi, salted paper print from paper negative, c. 1855. Courtesy of Wikimedia Commons 52

12 Anonymous, photograph of an engraving depicting the façade of lots n. 11 and n. 12 dell’Arcone crossing the Via degli Strozzi, c. 1870. Archivi Alinari, Florence. Private collection – ex Malandrini/F.lli Alinari Museum Collections warehouse (RMFA), Florence 54

13 Enrico Van Lint, photograph of the northern corridor of the Camposanto of Pisa, c. 1855. Archivi Alinari, Florence 55

14 Giulio Bonasone (after Michelangelo), engraving of a lunette from the Sistine Ceiling, 1531–76. Courtesy of the Metropolitan Museum of Art. The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1959 56

15 Contemporary view of the Sistine Chapel ceiling, including the lunette featured in Bonasone’s print, 2009. Photograph by Randy Greve, via Flickr 57

16 Robert Macpherson, photograph of Myron’s Discobolus, albumen silver print, c. 1862. Courtesy of the Getty Museum’s Open Content program 60

17 Anonymous, photograph of The Avenue of Cypresses of the Villa d’Este in Tivoli, c. 1880. Archivi Alinari, Florence. Fratelli Alinari Museum Collections-Scarpellini Collection, Florence 62

18 William James Stillman, Eastern Facade of the Parthenon, carbon print, from The Acropolis of Athens, 1870. Courtesy of the Getty Museum’s Open Content program 67

19 Félix Bonfils, Cariatides du Temple de l’Erechtheion – Athenes, albumen silver print, 1872. Courtesy of the Getty Museum’s Open Content program 70

20 Félix Bonfils, Grèce: Temple de l’Erechtéïon à Athènes, tinted albumen silver print, 1877. Courtesy of the Getty Museum’s Open Content program 71

21 Contemporary view of Michelangelo’s Sistine Creation of Adam, fresco, 1508–12. Photograph by Jörg Bittner Unna, in the public domain, via Wikimedia Commons 74

22 Enrico Van Lint, photograph of Benozzo Gozzoli’s Annunciation, in the Camposanto of Pisa, c. 1870. Archivi Alinari, Florence 81

23 Guido Reni, God and angelic choir, pen and ink on paper, early 17th century. Courtesy of the Civico Gabinetto dei Disegni, Castello Sforzesco, and the City of Milan 82

24 (a and b) Plates I and II from Adolf Furtwängler, Meisterwerke der griechischen Plastik: Kunstgeschichtliche Untersuchungen, vol. 2, 1893. Text and images in the public domain. Digital scans by the author 93

25 Plate XXVII (illustrating Bartolomeo Bellano’s Fugitive) from Wilhelm Bode, The Italian Bronze Statuettes of the Renaissance, vol. II, 1908. Text and images in the public domain. Digital scans by the author 100

26 Anonymous, general views of the Town-Hall and Memorial Library from the southwest and northeast, North Easton, MA, 1886. (Plates I and II from The Ames Memorial Buildings, North Easton, MA, 1886). Text and images in the public domain. Digital scans by the author 123

27 Inscribed postcard (depicting Michelangelo’s Moses) sent by Sigmund Freud to Sántor Ferenczi, 1913. Courtesy of the Österrerichische Nationalbibliothek 132

28 (a and b) Line drawings from pages 28–29 of Sigmund Freud, “Der Moses des Michelangelo”, Imago III, 1914. Text and images in the public domain. Digital scans by the author 135

29 Cover of Henri Poincaré, Science and Hypothesis, 1905. Text and images in the public domain. Digital scans by the author 138

30 (a and b) Plates 38 and 39 from Walter Hege and Wilhelm Pinder, Der Bamberger Dom und seine Bildwerke, 1927. Courtesy of Deutscher Kunstverlag and The George Peabody Library, The Sheridan Libraries, The Johns Hopkins University 151

31 Fratelli Alinari, photograph of the Tower of Arnolfo, atop the Palazzo Vecchio, c. 1900. Archivi Alinari, Florence 160

32 Subscription card from the March 16, 1959 issue of Life. Courtesy of Google Books 175

33 Robert Morris, Passageway, painted plywood, electrical equipment, and sound, 1961. © 2018 Robert Morris / Artists Rights Society (ARS), New York. Courtesy Castelli Gallery 188

34 Installation view of Robert Morris’ exhibition at Green Gallery, 1964. © 2018 Robert Morris / Artists Rights Society (ARS), New York. Courtesy Castelli Gallery 190

35 Donald Judd, Untitled, nitrocellulose lacquer on aluminum, 1965. Overall: 8 1/4 × 253 × 8 1/4 in. (21 × 642.6 × 21 cm). © Judd Foundation / Artists Rights Society (ARS), New York. Whitney Museum of American Art, New York; purchase, with funds from the Howard and Jean Lipman Foundation, Inc. 66.53. Photograph Ron Amstutz 205

36 Robert Morris, Untitled (Battered Cubes), painted plywood, 1965. © 2018 Robert Morris / Artists Rights Society (ARS), New York. Courtesy Castelli Gallery 207

37 Cartoon by Fortuna, published in the Suplemento Dominical do Jornal do Brasil, December 3/4, 1960. Courtesy of the Jornal do Brasil 221

38 Eva Hesse, Accession II, galvanized steel and vinyl, 1968 (1969). © The Estate of Eva Hesse. Courtesy Hauser & Wirth, Bridgeman Images, and the Detroit Institute of Art 224

The Place of the Viewer

The Embodied Beholder in the History of Art, 1764-1968