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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.
This selection from the works of the writer and critic John Ruskin (1819 1900) is designed to illustrate the development of Ruskin's personality and literary style. What emerges is an extraordinary record of Ruskin's life and times, spanning most of the nineteenth century. Beginning with his reflections on his childhood, the volume proceeds chronologically, through his education and his European travels. It includes extracts from major essays on Venice, and observations on a range of contemporary writers, artists and architects, and it finishes with a moving passage on the sorrows of old age. The selections were made by the prominent Cambridge scholar A. C. Benson from the Library Edition of Ruskin's works, and the volume was first published in 1927. Cambridge University Press is delighted to bring this classic edition back into print."
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.
The extent of John Ruskin's influence has long been acknowledged, though his impact on the development of Anglo-American modernism has received little systematic attention. In this volume, published to mark the centenary of Ruskin's death, a group of international scholars consider what is often an awkward and conflicted relation. Ruskin's voluminous writings are seen to shelter an incipient modernism whose antipathy to a degraded modernity, powerfully predicts a major current within the work of the new century.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Focusing on the formative influence of the works of John Ruskin in defining and developing cultural tourism, this book describes and assesses their effects on the tourist gaze (where to go and what to see, and how to see it) as directed at landscape, scenery, architecture and townscape, from the early Victorian period onwards.
"The FBI generally has about 100 undercover agents working full-time in the field. In the 1990s and 2000s, Marc Ruskin had the most diverse, and notorious, case list of all, and the broadest experience within the bureaucracy, including overseas. He worked ops targeting public corruption, corporate fraud, Wall Street scams, narcotics trafficking, La Cosa Nostra, counterfeiting -- and gritty street-level scams and schemes. Sometimes working three or four cases simultaneously, Ruskin switched identities by the day: Each morning he had to walk out the door with the correct ID, clothes, accessories and frame of mind for that day's mission. And how is the right UC agent chosen, how is a bogus identity manufactured and "backstopped," how is the Bureau's long-term con painstakingly assembled? No one has ever given us the inside story like Ruskin. The Pretender is the definitive narrative of undercover ops -- the procedures, the successes, the failures--and the changes in the culture of the new-era FBI."--Jacket flap.
The Pre-Raphaelite Movement began in 1848, and experienced its heyday in the 1860s and 1870s. Influenced by the then little-known Keats and Blake, as well as Wordsworth, Shelley and Coleridge, Pre-Raphaelite poetry 'etherialized sensation' (in the words of Antony Harrison), and popularized the notion ofl'art pour l'art - art for art's sake. Where Victorian realist novels explored the grit and grime of the Industrial Revolution, Pre-Raphaelite poems concentrated on more abstract themes of romantic love, artistic inspiration and sexuality. Later they attracted Aesthetes and Decadents like Oscar Wilde, Aubrey Beardsley and Ernest Dowson, not to mention Gerard Manley Hopkins and W.B. Yeats.