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| Acknowledgments | |
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| List of Illustrations | |
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| Introduction | |
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| The Ruler as God: The Triad of Mycerinus | |
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| Form and Function: The Euphronios Crater | |
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| The Birth of Western Art: Three Greek Statues | |
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| Art in the Service of Power: The Augustus of Prima Porta | |
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| A Home for the Gods: The Pantheon | |
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| The Reuse of Symbols: The Sarcophagus of Junius Bassus | |
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| Icons of Power: The San Vitale Mosaics | |
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| Inventing Western Drama: Giotto: The Lamentation | |
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| The Style of Heaven: Duccio: The Maesta | |
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| The Transmigration of Meaning: Donatello: Judith and Holofernes | |
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| Printed Images: Durer: Knight, Death, and the Devil | |
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| Leonardo and Tradition: The Last Supper | |
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| Michelangelo's Pietas | |
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| A Late Work by an Ancient Master: Titian: The Flaying of Marsyas | |
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| The Clash of Cultures: El Greco's Burial of the Lord of Orgaz | |
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| The Making of Cellini's Persus | |
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| Reality Rearranged: Caravaggio: The Contarelli Chaped | |
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| The Dwarfs of the King's Painter: Velazquez | |
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| Art Without Boundaries: Bernini's Saint Teresa | |
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| Depicting Divine Right: Van Dyck: Charles I on Horseback | |
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| The Painter as Prince: A Self-Portrait by Rembrandt | |
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| Chardin's Living Still-Lifes | |
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| Images of Sacrifice: David's Death of Marat | |
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| The Horrors of War: Goya's The Third of May 1808 | |
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| Space and Color as Emotion: Van Gogh's Night Cafe | |
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| The Devolution of Heroism: Rodin and the Burghers of Calais | |
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| The Birth of Modern Architecture: The Wainwright and Carson Pirie Scott Buildings | |
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| Picasso: Innovation Within Tradition: The Studio | |
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| Transcendental Pictures: Three Photographs by Dorothea Lange | |
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| The Twentieth-century Artist: Jackson Pollock's Lavender Mist | |
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| The Elevation of the Ordinary: Hopper's Hotel Lobby | |
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| Rethinking Sculpture: David Smith's Cubis | |
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| Epilogue | |
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| Suggested Reading | |
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| Illustration Credits and Permissions | |
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| Index | |