Rather than focusing on German philosophy or the French avant-gardes, as many books on the history of aesthetics do, Teukolsky takes up British responses to modern art controversies, thus providing a unique view on the development of artistic forms and art history. She considers the plentiful archive of Victorian "art writing"-essays addressed to the visual arts- to reveal the key role played by nineteenth-century writers in the rise of modernist Anglo-Americanaesthetics. Though Victorians are most often associated with realism, certain art writers promoted a formalism that would come to dominate canons of twentieth-century art. Teukolsky analyzes the canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to therich field of Victorian print culture—gallery reviews, scientific treatises, satirical cartoons, advertisements, and early photography monographs among them. Spanning the years 1840 to 1910, her argument also adds substance to our understanding of the transition from Victorianism to modernism, a period of especially lively exchange between artists and intellectuals, here narrated with careful attention given to the historical particularities and real events that stamped their imprint on suchinteractions.