Winner of the Louis Gottschalk Prize given by the American Society for
Eighteenth-Century Studies
Aesthetic experience was problematic for Enlightenment authors. Arguing
against the commonly held view that aesthetics in the eighteenth and
early nineteenth centuries was defined by the professionalization of
criticism and the disinterested contemplation and evaluation of the work
of art in isolation, David Marshall seeks to understand how and why
aesthetic experience in fact often generated tremendous emotion and
tension. Focusing on stories about art told in literary, critical, and
philosophical writings, in which art is represented as both powerful and
disconcerting, he demonstrates how an aesthetic perspective blurs the
boundaries between art and reality rather than separating them.
Lucid and erudite, The Frame of Art examines an Enlightenment
preoccupation with the pervasive presence of art and aesthetic
experience in everyday life. Viewing a world composed of images,
simulacra, copies, reenactments, performances, paintings, and texts,
authors and characters describe and enact--in what Marshall describes as
a "representation compulsion"--intense experiences of art that are far
from the disinterested museum experience typically seen as the endpoint
of eighteenth-century aesthetics.
These insightful readings of Charlotte Lennox, Jean-Jacques Rousseau,
Gotthold Lessing, Lord Kames, Henry Mackenzie, David Hume, Jane Austen,
and the theorists of the picturesque trace the dramatization of
aesthetic experience and the desire to design one's life as if it were a
work of art-a painting, a play, or a novel. Marshall asks what it means
for these authors to view the world through the frame of art.
