The Reception of Walter Pater in Europe

DAVID CARRIER is Champney Family Professor at Case Western Reserve University [Cleveland Institute of Art, Cleveland, Ohio, 44106].

Notes

1. Like Andy Warhol, another failed Christian believer, Pater could not narrate effectively. The comparison between these outsiders who attracted great attention, although they lacked some customary skills of artists and writers, deserves investigation.

2. This summary draws on the survey essay by Stephen Bann, "Pater, Walter Horatio," in The Encyclopedia of Aesthetics, ed. Michael Kelly (New York: Oxford University Press, 1998), vol. 3, 445-47.

3. See George J. Leonard, Into the Light of Things: The Art of the Commonplace from Words-worth to John Cage (Chicago: University of Chicago Press, 1994).

4. Paul Barolsky, Walter Pater's Renaissance (University Park, Pa.: Pennsylvania State University Press, 1987), 199.

5. Craig Owens, Beyond Recognition: Representation, Power, and Culture (Berkeley: University of California Press, 1992), 55.

6. See, for example, Paul Barolsky, Michelangelo and the Finger of God (Athens, Ga.: Georgia Museum of Art, 2003).

7. Richard Wollheim, "Walter Pater: From Philosophy to Art," in Comparative Criticism: An Annual Journal, ed. E. S. Shaffer (Cambridge: Cambridge University Press, 1995), 37.

8. Frank Kermode, The Romantic Image (London: Routledge and Kegan Paul, 1971), 24.

9. Sheila S. Blair and Jonathan M. Bloom, The Art and Architecture of Islam, 1250-1800 (New Haven: Yale University Press, 1994), 309.

10. The alarming price of this instructive volume, which has no illustrations, is a reminder of the crisis facing academic publishing.

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