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J.M.W.Turner - John Ruskin (1819-1900)
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Writer, art critic,
champion of socialism, John Ruskin put everything he had into his beliefs,
including most of his fortune. When his father left him a large sum of money, he
gave most of it away to art museums and charities. Ruskin was born in London, England, on Feb. 8, 1819. His father was a wealthy
wine merchant, and both of his parents devoted much time to his education. In
1836 he left home to go to Oxford, where he won a prize for poetry. He graduated
in 1842.
Early in his career Ruskin wrote mostly about painting and architecture. The
first volume of his 'Modern Painters' series, published when he was 24,
redirected public taste. This series and 'The Seven Lamps of Architecture' and
'The Stones of Venice' gave the people of Queen Victoria's reign a new interest
in art and a new point of view toward it. In his later life he was a professor
of art at Oxford.
When Ruskin was about 40 years old, he began to be more interested in
humanity and became a social reformer. His writings changed. He began to
describe what he thought would be an ideal state of society and how he felt this
could be brought about. Ruskin did not champion revolutionary socialism, but he
cried out for national education, old-age pensions, and better housing for the
working classes. Ruskin's strong feelings about social welfare led him to
organize the Guild of St. George--an elaborate social structure in which
machines were practically banished. Even though Ruskin knew comparatively little
about sociology or economics, his 'Sesame and Lilies', a popular statement of
some of his sociological ideas, became very well known.
Even more impressive than the things Ruskin said was the way he said them. He
wrote beautiful, clear English--at times very simple and straightforward and at
times highly ornate and coloured. Altogether he wrote more than 50 volumes. His
autobiography, 'Praeterita', tells of his early life. Ruskin died at his home in
Coniston, Lancashire, on Jan. 20, 1900.
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What was it in William Turner's art
that so immensely captured John Ruskin that he almost devoted his life to the
advocacy of it? Maybe he saw some of his own transformed desires in the works of
the great master of light, surf and rock. I deliberately avoid the modern term
sublimation, since this mental state neither was modern nor sublime, but heavy
as the stones of Venice he also chose to write about
and life surely taught Ruskin lessons as harsh as those ethics of the dust he
lectured the young girls at Winnington school about.
Ruskin's
life appears to us as a tragic one. Living too close to his Calvinist mother, he
probably never really grew up mentally. After an unhappy love affair with Adèle
Domecq at the age of 17, he turned to his studies at Oxford, and began
collecting pictures by Turner three years later. After graduation in 1842,
Ruskin planned a book in defense of Turner, whose work had been mocked by the
critics.The result was "Modern Painters",
published in five volumes 1843-60. During those years Turner himself had died,
at the age of 76 in 1851. He left behind some 300 paintings and 19,000 drawings
and watercolours, that Ruskin cataloged.
In
1848 Ruskin married Effie Gray, who later left him for one of the
Pre-Raphaelites, John Everett Millais. Nevertheless, Ruskin wrote a book in
defense of this artistic movement, "Pre-Raphaelitism" (1851). Apart
from "Modern Painters", his most famous works are "The Seven
Lamps of Architecture" (1849) and "The Stones of Venice" (three
volumes 1851-53). Ruskin detested industrialism and also wrote several essays
about social reform that were later collected in "Unto This Last"
(1862).
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Of the Turnerian Picturesque
Selected
Writings John Ruskin,
Kenneth
Clark
(Editor)

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Availability:
Usually dispatched within 24 hours
Paperback
- 384 pages (November 1991) |
Reviews
Synopsis
A carefully selected and annotated selection of Ruskin's
work. Extracts are grouped together according to subject
and each section is introduced separately. This edition
was originally published by Penguin as "Ruskin
Today". |
Modern Painters, Ruskin again returns to this
description of the artist as prophet, emphasizing the creator's
essential passivity when he is captured by vision:
All the great men see what they paint before they paint it,
-- see it in a perfectly passive manner, -- cannot help seeing
it if they would; whether in their mind's eye, or in bodily
fact, does not matter; very often the mental vision is, I
believe, in men of imagination, clearer than the bodily one; but
vision it is, of one kind or another, -- the whole scene,
character, or incident passing before them as in second sight,
whether they will or no, and requiring them to paint it as they
see it; they not daring . . . to alter one jot or
title
of it as they write it down or paint it down; it being to them in
its own kind and degree always a true vision or Apocalypse, and
invariably accompanied in their hearts by a feeling correspondent
to the words, -- "Write the things which thou hast seen, and
the things which are."
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