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| List of Illustrations | |
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| Preface | |
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| Introduction | |
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| The Great Division | |
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| Words and Institutions | |
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| Before Fine Art and Craft | |
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| Overview | |
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| The Greeks Had No Word for It | |
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| Art, techne, ars | |
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| The Artisan/Artist | |
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| Beauty and Function | |
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| Aquinas's Saw | |
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| From "Servile" to "Mechanical" Arts | |
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| Artificers | |
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| The Idea of Beauty | |
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| Michelangelo and Shakespeare: Art on the Rise | |
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| Opening up the Liberal Arts | |
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| The Changing Status of Artisan/Artists | |
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| The Ideal Qualities of the Artisan/Artist | |
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| Shakespeare, Jonson, and the "Work" | |
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| A Proto-Aesthetic? | |
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| Artemisia's Allegory: Art in Transition | |
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| The Artisan/Artist's Continuing Struggle for Status | |
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| The Image of the Artisan/Artist | |
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| Steps toward the Category of Fine Art | |
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| The Role of Taste | |
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| Art Divided | |
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| Overview | |
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| Polite Arts for the Polite Classes | |
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| Constructing the Category of Fine Art | |
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| The New Institutions of Fine Art | |
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| The New Art Public | |
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| The Artist, the Work, and the Market | |
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| The Separation of the Artist from the Artisan | |
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| The Ideal Image of the Artist | |
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| The Fate of the Artisan | |
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| The Gender of Genius | |
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| The Ideal of the "Work of Art" | |
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| From Patronage to the Market | |
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| From Taste to the Aesthetic | |
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| Learning Aesthetic Behavior | |
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| The Art Public and the Problem of Taste | |
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| The Elements of the Aesthetic | |
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| Kant and Schiller Sum up the Aesthetic | |
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| Countercurrents | |
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| Overview | |
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| Hogarth, Rousseau, Wollstonecraft | |
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| Hogarth's "Hedonist Aesthetics" | |
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| Rousseau's Festival Aesthetics | |
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| Wollstonecraft and the Beauty of Justice | |
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| Revolution: Music, Festival, Museum | |
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| The Collapse of Patronage | |
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| The Revolutionary Festivals | |
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| Revolutionary Music | |
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| The Revolution and the Museum | |
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| The Apotheosis of Art | |
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| Overview | |
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| Art as Redemptive Revelation | |
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| Art Becomes an Independent Realm | |
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| The Spiritual Elevation of Art | |
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| The Artist: A Sacred Calling | |
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| The Exalted Image of the Artist | |
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| The Descent of the Artisan | |
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| Silences: Triumph of the Aesthetic | |
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| Learning Aesthetic Behavior | |
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| The Rise of the Aesthetic and the Decline of Beauty | |
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| The Problem of Art and Society | |
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| Beyond Fine Art and Craft | |
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| Overview | |
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| Assimilation and Resistance | |
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| The Assimilation of Photography | |
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| Varieties of Resistance: Emerson, Marx, Ruskin, Morris | |
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| The Arts and Crafts Movement | |
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| Modernism, Anti-Art, and the Bauhaus | |
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| Modernism and Purity | |
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| The Case of Photography | |
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| Anti-Art | |
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| The Bauhaus | |
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| Three Philosopher-Critics on the Division of Art | |
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| Modernism and Formalism Triumphant | |
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| Beyond Art and Craft? | |
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| "Primitive" Art | |
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| Crafts-as-Art | |
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| Architecture as Art | |
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| The Photography-as-Art Boom | |
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| The "Death of Literature"? | |
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| Mass Art | |
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| Art and Life | |
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| Public Art | |
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| Conclusion | |
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| Notes | |
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| References | |
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| Index | |