

Hardcover: 240 pages
Publisher: Phaidon Press; 1st edition (October 14, 2013)
Language: English
ISBN-10: 0714865915
ISBN-13: 978-0714865911
Product Dimensions: 8.5 x 1 x 11 inches
Shipping Weight: 3.2 pounds (View shipping rates and policies)
Average Customer Review: 4.3 out of 5 stars See all reviews (44 customer reviews)
Best Sellers Rank: #54,095 in Books (See Top 100 in Books) #20 in Books > Politics & Social Sciences > Philosophy > Aesthetics #105 in Books > Arts & Photography > History & Criticism > Criticism #607 in Books > Arts & Photography > Drawing > Coloring Books for Grown-Ups

As an artistic production in its own right, this book is lovely. The illustrations are remarkable. Even the structure is thought-provoking, and the early sections, each devoted to an analysis of the ways in which art can transcend its nominal subjects and acquire a personal relevance to the individual viewing it (or, in the case of architecture, inhabiting it) were intriguing).But that's when the book's analysis started falling apart for me, since that's where de Botton moves away from an understanding and awareness that the relationship between a person and an individual piece of art is always going to be just that: individual. Especially when we're talking about "art as therapy". The way I respond to Monet's Giverny paintings may be the way that someone else reacts to, say, a Vermeer interior, or a Ming vase -- or even something utterly unexpected, like a vibrant Kandinsky. de Botton, in contrast, implies that there is a way we as a society can somehow guide a viewer to have a certain kind of epiphany by looking at a certain kind of work of art. I'm with de Botton in suggesting that that kind of visceral, thoughtful, emotional reaction occurs -- and should be encouraged -- but part ways with him in suggesting that we, as a society, should somehow be guiding people as to what they should be thinking in response to certain works of art by showcasing them in galleries devoted to kinds of emotions (loss, friendship, etc.), commissioning work to help us understand grief, etc.Consider one example that de Botton offers up: that of the central panel of a 15th century triptych that once belonged to Isabella of Castile. It features Jesus, resurrected, visiting the Virgin Mary.
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