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"This book seems to give me eyes," wrote Charlotte Brontë of Ruskin's Modern Painters. Elizabeth Helsinger here explores theprofound changes Ruskin induced in theway nineteenth-century viewers looked atnature and at art. Helsinger argues that Ruskin transformedthe artist- or poet-oriented aesthetics ofromanticism into a beholder- or reader-oriented criticism. Combining critical attention to Ruskin's prose with her ownwide-ranging scholarship, Helsinger placesRuskin's perceptual reforms within previously unexplored intellectual and culturalcontexts. She connects his thought withWordsworth's poetry, Turner's landscapeart, and Carlyle's history, and shows theeffect on his ideas of romantic literary andart criticism, associationist psychology, historicism, contemporary travel art andliterature, and Victorian philology. This illuminating study of Ruskin's criticism should be welcomed by students ofnineteenth-century intellectual, literary,and art history.
A remarkable study of how early literary, familial, sexual, and social experiences affect artistic identity.
This was first published in 2000: A study of John Ruskin's engagement with art and architecture as a critic, a patron and a teacher. It offers insights into both his writings and the visual economy of the Victorian world. Each essay examines Ruskin's relationship with an individual artist or a distinct aspect of art practice. J.M.W. Turner, D.G. Rossetti, W. Holman Hunt and E. Burne-Jones are among those artists discussed whose personal relationships with Ruskin affected his critical writing. Ruskin's attitude to women artists and his approach to the teaching of art are given special attention.
This volume powerfully demonstrates the range and inexhaustible vitality of Ruskin's prose and will once again become an indispensable reference for Victorianists from a range of disciplines.
In Ruskin's Culture Wars, Judith Stoddart provides the first sustained modern critical reading of Fors Clavigera, placing this classic work in the context of its Victorian contemporaries: art journals, liberal and working-class periodicals, and popular criticism. In recreating the intellectual climate, she demonstrates the sense of cultural crisis and change evident at the time. Rebelling against the tendency to treat Ruskin's letters as the prose lyric of a damaged psyche, Stoddart shows how the cumulative text of Fors Clavigera not only records but revises and redirects the preoccupations of his period. He was an integral part of Victorian discussions of literary tradition and of the roles of democracy and nationality in late-nineteenth-century Europe.
For most of the twentieth century, modernist viewers dismissed the architectural ornament of Louis H. Sullivan (1856-1924) and the majority of his theoretical writings as emotional outbursts of an outmoded romanticism. In this study, Lauren Weingarden reveals Sullivan's eloquent articulation of nineteenth-century romantic practices - literary, linguistic, aesthetic, spiritual, and nationalistic - and thus rescues Sullivan and his legacy from the narrow role imposed on him as a pioneer of twentieth-century modernism. Using three interpretive models, discourse theory, poststructural semiotic analysis, and a pragmatic concept of sign-functions, she restores the integrity of Sullivan's artistic choices and his historical position as a culminating figure within nineteenth-century romanticism. By giving equal weight to Louis Sullivan's writings and designs, Weingarden shows how he translated both Ruskin's tenets of Gothic naturalism and Whitman's poetry of the American landscape into elemental structural forms and organic ornamentation. Viewed as a site where various romantic discourses converged, Sullivan's oeuvre demands a cross-disciplinary exploration of each discursive practice, and its "rules of accumulation, exclusion, reactivation." The overarching theme of this study is the interrogation and restitution of those Foucauldian rules that enabled Sullivan to articulate architecture as a pictorial mode of landscape art, which he considered co-equal with the spiritual and didactic functions of landscape poetry.
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 canonical writing of authors like John Ruskin, Walter Pater, and Oscar Wilde alongside texts belonging to the rich 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 such interactions.
Draws together leading experts from a wide range of disciplines to analyse the life and work of John Ruskin (1819-1900).