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John Ruskin's critical commentary on culture and society, transformative in his own time, established him as a leading critic of the 19th century. His prescient thinking resonates powerfully with today’s issues in cultural heritage conservation. This volume presents his ideas in context, key extracts from his works and future directions for his foundational ideas. Ruskin’s passionate responses to the environmental and social changes of his day chime with contemporary ideas on themes like sustainability, ethical production and environmentalism. Though widely recognised as a key figure in preservation history, his heritage work is rarely appreciated in full context and breadth. This volume presents six stimulating essays on Ruskin’s readership and reception, his transformative perceptions of heritage futures and provocative writing on cultural landscapes and the arts and crafts. Extracts from both well-known and lesser-known works accompany each chapter to reflect the distinctive vocality of his texts, from his writing on architecture and buildings, to landscape and cultural heritage. The volume offers a richer description of cultural context and meaning than usually afforded to Ruskin’s work in conservation and critical heritage studies finding its resonance and relevance. Written for an academic and professional audience in heritage studies and historic building conservation and particularly relevant for cultural heritage management, this is a core text and reference work for undergraduate and postgraduate students in history of art and architecture, heritage studies and architectural/building conservation, also central to interests of cultural historians and scholars of nineteenth-century/Victorian history and literature.
A captivating meditation on the power of the sentence by the author of Essayism, a 2018 New Yorker book of the year. In Suppose a Sentence, Brian Dillon, whom John Banville has called “a literary flâneur in the tradition of Baudelaire and Walter Benjamin,” has written a sequel of sorts to Essayism, turning his attention to the oblique and complex pleasures of the sentence. A series of essays prompted by a single sentence—from Shakespeare to James Baldwin, John Ruskin to Joan Didion—this new book explores style, voice, and language, along with the subjectivity of reading. Both an exercise in practical criticism and a set of experiments or challenges, Suppose a Sentence is a polemical and personal reflection on the art of the sentence in literature.
'To see clearly is poetry, prophecy, religion, all in one' John Ruskin - born 200 years ago, in February 1819 - was the greatest critic of his age: a critic not only of art and architecture but of society and life. But his writings - on beauty and truth, on work and leisure, on commerce and capitalism, on life and how to live it - can teach us more than ever about how to see the world around us clearly and how to live it. Dr Suzanne Fagence Cooper delves into Ruskin's writings and uncovers the dizzying beauty and clarity of his vision. Whether he was examining the exquisite carvings of a medieval cathedral or the mass-produced wares of Victorian industry, chronicling the beauties of Venice and Florence or his own descent into old age and infirmity, Ruskin saw vividly the glories and the contradictions of life, and taught us how to see them as well.
For Ruskin, some dates represented turning points in his personal and working life: 23rd September 1845 is one such date. In letters written from Venice to his father that autumn he writes of being overwhelmed by the power of Tintoretto, and of feeling called to safeguard his paintings together with the fate of the city itself. Ruskin's discovery of Tintoretto's work plays a central role in his aesthetics, and was to inspire some of his best writing. Through 'Modern Painters and The Stones of Venice', works that were to be deeply influential throughout mid 19th-century Europe, Ruskin contributed to the establishment of Tintoretto's international fame and his insights still inform our ways of looking at his painting. The collection of writings published here appears for the first time in a well-organised and easily consultable form, a form that Ruskin himself had planned for English visitors. It takes us to paintings in churches throughout the city, though it is the Church and Scuola di San Rocco which stand out as having been the focus of extended and concentrated attention on Ruskin?s part. Neglected by Ruskin scholars, his "Venetian Index", in particular, meticulously records the state of conservation of Tintoretto's canvases at a time of neglect and conflict, while surveying the artist's oeuvre as a whole and minutely examining individual paintings.0Quintessentially Ruskinian in its investigation of the language of sacred iconography and the origins of landscape painting, this guide to Tintoretto's painting generates interpretations which art historians will find stimulating, but will also prove illuminating for non-expert readers wishing to explore a great painter through the sensibility of the critic who first introduced him to the English.
This volume offers clear readings of 28 Cantos from The Cantos of Ezra Pound in 23 essays written by eminent Poundians, with careful explanation of sources balanced with critical analysis of Pound’s project.
WINNER OF THE SIGURD F. OLSON NATURE WRITING AWARD “Blending family memoir and environmental history, Kendra Atleework conveys a fundamental truth: the places in which we live, live on—sometimes painfully—in us. This is a powerful, beautiful, and urgently important book.” —Julie Schumacher, author of Dear Committee Members and The Shakespeare Requirement Kendra Atleework grew up in Swall Meadows, in the Owens Valley of the Eastern Sierra Nevada, where annual rainfall averages five inches and in drought years measures closer to zero. Her parents taught their children to thrive in this beautiful if harsh landscape prone to wildfires, blizzards, and gale-force winds. Above all, the Atleework children were raised on unconditional love and delight in the natural world. But when Kendra’s mother died when Kendra was just sixteen, her once-beloved desert world came to feel empty and hostile, as climate change, drought, and wildfires intensified. The Atleework family fell apart, even as her father tried to keep them together. Kendra escaped to Los Angeles, and then Minneapolis, land of tall trees, full lakes, water everywhere you look. But after years of avoiding her troubled hometown, she felt pulled back. Miracle Country is a moving and unforgettable memoir of flight and return, emptiness and bounty, the realities of a harsh and changing climate, and the true meaning of home. For readers of Cheryl Strayed, Terry Tempest Williams, and Rebecca Solnit, this is a breathtaking debut by a remarkable writer.
Focusing on John Ruskin as a teacher and on his greatest educational work, Fors Clavigera, Sara Atwood examines Ruskin's varied roles in education, the development of his teaching philosophy and style, and his vision for educational reform. Atwood maintains that the letters of Fors Clavigera constitute not only a treatise on education but a dynamic educational experiment, serving to set forth Ruskin's ideas about education while simultaneously educating his readers according to those very ideas. Closely examining Ruskin's life and writings, her argument traces the development of his moral aesthetic and increasing involvement in social reform; his methods and approach as an art instructor; and his dissatisfaction with contemporary educational practice. A chapter on Ruskin's legacy takes account of his influence on late Victorian and Edwardian educators, including J. H. Whitehouse and the Bembridge School; the Ruskin colonies in Tennessee, Florida, and Georgia; and the relevance of Ruskin's ideas to ongoing educational debates about teacher pay, state/national testing, retention, and the theory of the competent child. Historically well-grounded and forcefully argued, Atwood's study is not only a valuable contribution to scholarship on Ruskin and the Victorian period but an enjoinder for us to reconsider how Ruskin's educational philosophy might be of benefit today.
Effie Gray, a beautiful and intelligent young socialite, rattled the foundations of England's Victorian age. Married at nineteen to John Ruskin, the leading art critic of the time, she found herself trapped in a loveless, unconsummated union after Ruskin rejected her on their wedding night. On a trip to Scotland she met John Everett Millais, Ruskin's protégé, and fell passionately in love with him. In a daring act, Effie left Ruskin, had their marriage annulled and entered into a long, happy marriage with Millais. Suzanne Fagence Cooper has gained exclusive access to Effie's previously unseen letters and diaries to tell the complete story of this scandalous love triangle. In Cooper's hands, this passionate love story also becomes an important new look at the work of both Ruskin and Millais with Effie emerging as a key figure in their artistic development. Effie is a heartbreakingly beautiful book about three lives passionately entwined with some of the greatest paintings of the pre-Raphaelite period.