Gregory Curtis (33 page)
Authors: Disarmed: The Story of the Venus De Milo
Tags: #Sculpture & Installation, #Art, #European
———.
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———. “La Vénus de Milo.”
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———. “La Vénus de Milo.”
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(Paris), 1892.
———.
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siècle
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———.
L’art et les mystères grecs
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———.
De l’habitude
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———. Review of Furtwängler’s
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,
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———.
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———.
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———.
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———.
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———.
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———.
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———, and Malcolm Wagstaff.
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———.
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———.
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.
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———.
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T
HE IDEA
for
Disarmed
took shape when my friend Daniel Okrent told me that the book I was describing to him—a book with chapters on various masterpieces of art—“sounded more like a series of magazine articles than a book. Why don’t you pick just one?” I owe the existence of this book to Dan’s sensible advice. He also kindly read the manuscript and gave helpful suggestions.
Stephen Harrigan, my neighbor and longtime friend, was always generous with his advice and enthusiasm during the time it took me to research and write. He read the manuscript at every stage and made incisive comments that greatly improved the final result.
My agent, David McCormick, believed in the project and in me even though I had never written a book before. During many conversations and much correspondence, he helped set me on the right path with his strong editorial voice and also handled the business affairs faultlessly.
William Broyles, Jr., was a friend and colleague in this as he has been in everything for more years than either of us want to count.
Lawrence Wright saved me from much wasted time and confusion with his suggestions about research and organization.
I’m very grateful to my editor, Ann Close, not only for her careful reading and notes, but also for believing in this book and its author from the beginning.
Norman Pearlstine has been a friend for many years. Recently he has shown great kindness toward me, without which this book could not have been written.
Alain Pasquier, general conservator of the Department of Greek, Etruscan, and Roman Antiquities at the Louvre, was generous on several occasions with his time and expertise.
Candy Gianetti’s copyediting improved the manuscript in many ways. Chester Rosson’s careful translation of many German sources helped immeasurably.
Claire Davenport spent many tedious hours poring through journals and databases for sources. Holly Brady of the Stanford Publishing Courses helped me navigate the perils of the Stanford library and bureaucracy. Suzanne Marchand of Louisiana State University provided very helpful information about German archeology and saved me from many errors and misinterpretations. Denise Schulze has spent long hours listening to me puzzle through French grammar. Thomas Palaima of the University of Texas was kind enough to read and comment incisively on my chapter on Greek society and art. Kevin Kwan in New York and Maria Vincenza Aloisi in Paris tracked down photographs and illustrations for me that were difficult to find. Caroline Wright did several searches for sources. I must also mention William Wiegand, now retired but formerly of San Francisco State College, from whom I learned most of what I know about writing and literature. The staff of the University of Texas at Austin libraries was unfailingly helpful.
Finally, I dedicate this book to my wife, Tracy. What she has given me is beyond measure. Also, many thanks to my son, Ben; my daughter, Vivian; and the other Venuses in my life, the members of T.L.L.W.C. You know who you are.
Académie des Beaux-Arts,
3.1
,
3.2
,
4.1
Académie des Inscriptions and Belles Letters,
5.1
,
5.2
Alexander the Great,
2.1
,
3.1
,
4.1
,
6.1
,
7.1
Alexandros of Antioch,
3.1
,
3.2
,
5.1
,
5.2
,
5.3
,
6.1
,
7.1
Annales maritimes et colonials
,
4.1
Aphrodite of Knidos (Praxiteles),
3.1
,
6.1
Apollo Belvedere,
3.1
,
3.2
,
3.3
; in Musée Napoléon,
3.4
; returned to Vatican,
3.5
,
3.6
,
3.7
,
3.8
; Winckelmann’s description of,
2.1
,
3.9
Arc de Triomphe du Carrousel,
3.1
,
3.2
,
3.3
archeology,
1.1
,
3.1
,
3.2
,
4.1
,
7.1
; digs,
5.1
;
see also
Furtwängler, Adolf; Reinach, Salomon Aristophanes
Athens,
1.1
,
5.1
,
5.2
,
5.3
,
5.4
,
5.5
; ancient,
1.2
,
3.1
,
4.1
,
5.6
,
6.1
,
6.2
,
6.3
baroque art and architecture,
2.1
,
2.2
Berenson, Bernard,
5.1
,
5.2
,
5.3
,
5.4
Bonaparte, Napoleon,
see
Napoleon, emperor of France Bonapartism,
1.1
,
4.1
Borghese, Princess Pauline,
3.1
,
3.2
,
3.3
Borghese Mars,
4.1
,
illus
.
4.2
,
4.3
Bourbons,
1.1
,
1.2
; restoration of,
1.3
,
3.1
,
3.2
,
3.3
,
3.4
;
see also
Louis XVI; Louis XVIII
Brest, Louis,
1.1
,
1.2
,
4.1
,
5.1
,
5.2
; and Dumont d’Urville’s claims of discovery,
1.3
,
3.1
; Forbin’s visit to,
1.4
,
3.2
,
3.3
; primates of Melos and,
1.5
,
1.6
,
1.7