 Art and artistry carry value for Nietzsche both as a straightforward first-order matter, and also as a source of higher-order lessons about how to create value more generally. At the higher-order level, he insists that we should learn from artists “how to make things beautiful, attractive, desirable for ourselves when they are not” (GS 299; see also GS 78). The suggestion is that artistic methods (“Moving away from things until there is a good deal that one no longer sees…; seeing things… as cut out and framed…; looking at them in the light of the sunset”, and so on; GS 299) provide a kind of formal model (Landy 2012: 4, 8–19, et passim) for the development of analogous techniques that could be deployed beyond art, in life itself—“For with them this subtle power usually comes to an end when art ends and life begins, but we want to be the poets of our life” (GS 299). But Nietzsche is just as invested in the first-order evaluative point that what makes a life admirable includes its aesthetic features. Famously (or notoriously), Nietzsche argues that to “attain satisfaction with himself” one should “‘give style’ to one’s character” (GS 290). Here, it is the fact that the person’s character (or her life) has certain aesthetic properties—that it manifests an “artistic plan”, that it has beauty or sublimity, that its moments of ugliness have been gradually removed or reworked through the formation of a second nature, that it exhibits a satisfying narrative (or other artistic) form—that constitutes its value (GS 290, 299, 370; TI IX, 7; EH Frontispiece). Alexander Nehamas (1985) articulates and explores this Nietzschean theme of imposing artistic structure onto one’s individual life in considerable detail, and many other scholars have built on his view or explored related aspects of the topic (see Gerhardt 1992; Young 1992; Soll 1998; Ridley 2007a, 2007b, 2018; Anderson 2005, 2009; Anderson and Cristy, 2017; Huddleston 2019; and the essays in Came 2014).