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Published to accompany the exhibition at Tate Britain, London from 9 March to 28 May 2000.
'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.
“Have nothing in your house that you do not know to be useful, or believe to be beautiful.” This quote alone from William Morris could summarise the ideology of the Arts & Crafts movement, which triggered a veritable reform in the applied arts in England. Founded by John Ruskin, then put into practice by William Morris, the Arts & Crafts movement promoted revolutionary ideas in Victorian England. In the middle of the “soulless” Industrial Era, when objects were standardised, the Arts & Crafts movement proposed a return to the aesthetic at the core of production. The work of artisans and meticulous design thus became the heart of this new ideology, which influenced styles throughout the world, translating the essential ideas of Arts & Crafts into design, architecture and painting.
An innovative and lavishly illustrated account of the art, writings, and global influence of one of the 19th century's most influential thinkers This book presents an innovative portrait of John Ruskin (1819-1900) as artist, art critic, social theorist, educator, and ecological campaigner. Ruskin's juvenilia reveal an early embrace of his lifelong interests in geology and botany, art, poetry, and mythology. His early admiration of Turner led him to identify the moral power of close looking. In The Stones of Venice, illustrated with his own drawings, he argued that the development of architectural style revealed the moral condition of society. Later, Ruskin pioneered new approaches to teaching and museum practice. Influential worldwide, Ruskin's work inspired William Morris, founders of the Labour Party, and Mahatma Gandhi. Through thematic essays and detailed discussions of his works, this book argues that, complex and contradictory, Ruskin's ideas are of urgent importance today. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (September 5-December 8, 2019)
In Fiona MacCarthy’s riveting account, Burne-Jones’s exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.
This volume presents a collection of essays by leading experts which examine nineteenth century ideas about Christian theology, art, architecture, restoration, and curatorial practice. The volume unveils the importance of John Ruskin’s writing for today’s audience, and allies it with the dynamism of the Pre-Raphaelite religious imagination. Ruskin’s drawings and daguerreotypes, as well as Pre-Raphaelite paintings, stained glass, and engravings, are shown to be alive with visual theology: artists such as Dante Gabriel Rossetti, John Everett Millais, Edward Burne-Jones, and Evelyn de Morgan illuminate aspects of faith and aesthetics. The interdisciplinary nature of this volume encourages reflection upon praise, truth, and beauty. The aesthetic conversations between Ruskin and the Pre-Raphaelites themselves become a form of ‘sacra conversazione’.
This illustrated book focuses on the Pre-Raphaelite artists and their radical departure from artistic conventions. Barringer explores the meanings encoded in Pre-Raphaelite paintings and analyses key pictures and their significance within the complex social and cultural matrix of 19th century Britain.
This book assesses Ruskin’s and Turner’s mutual interest in the theme of water, with particular reference to The Harbours of England (1856), Ruskin’s book on ships and marine art to which are appended Turner’s 12 illustrations of the English ports. By considering existing scholarly works on Ruskin and Turner, the book begins by demonstrating that the two, despite their widely acknowledged relations, have rarely been examined in conjunction. It raises the question as to how the subject of water inspired the intellectual, aesthetic, philosophical, and scientific climate of the nineteenth century, both in Britain and abroad, and acknowledges the significance of the relationship between Ruskin and Turner in the context of aquatic studies. Ruskin’s childhood fascination with water is examined in detail, while the scientific and spiritual importance of the subject in Modern Painters and The Stones of Venice is also emphasised and read in parallel with The Harbours of England, a detailed account of which is given, referring to both text and illustrations. Turner’s role in Ruskin’s understanding of specific water-pictures is also reconstructed. The book demonstrates that water is important as a multifaceted compendium of contemporary themes, for tradition, progress, nationalism, and patriotism find their iconography in its depiction. Considering the literary and painterly implications of wateriness, the text concludes with a reflection upon the significance of the study of water for Ruskin and Turner, and for their age.