John Ruskin (February 8, 1819 - January 20, 1900) was a prominent British art critic of the Victorian era, as well as an art patron, a draftsman, a water girl, a leading social thinker and philanthropist. He writes on diverse subjects such as geology, architecture, mythology, ornithology, literature, education, botany and political economy.
Writing style and form of writing are equally varied. He writes essays and treatises, poetry and lectures, travel and manual guides, letters and even fairy tales. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentations.
The elaborate style that marks his earliest writings on art gives time in time to understand the language designed to communicate his ideas more effectively. In all his writings, he emphasizes the connection between nature, art and society.
He was very influential in the second half of the 19th century and until the First World War. After a period of relative decline, his reputation has continued to improve since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognized as anticipating an interest in environmentalism, sustainability and crafts.
Ruskin first became widespread concern with the first volume of Modern Painters (1843), a long essay in the defense of J.M.W. Turner in which he argues that the artist's primary role is "truth to nature". From the 1850s he championed the Pre-Raphael who was influenced by his ideas. His work is increasingly focused on social and political issues. Unto This Last (1860, 1862) marks a shift in emphasis. In 1869, Ruskin became the first Slade Art Professor at Oxford University, where he founded the Ruskin School of Drawing. In 1871, he began "monthly letters to the workers and workers of England", published under the title Fors Clavigera (1871-1884). In this complex and highly personal process of work, he developed the principles that underlie his ideal society. As a result, he founded the St George Guild, an organization that survives to this day.
Video John Ruskin
Kehidupan awal (1819-1846)
Silsilah
Ruskin is the only child of the first cousin. His father, John James Ruskin, (1785-1864), is a sherry and wine importer, founding partner and de facto business manager of Ruskin, Telford and Domecq (see Allied Domecq). John James was born and raised in Edinburgh, Scotland, to a mother from Glenluce and a father from Hertfordshire. His wife, Margaret Cox, nÃÆ' Â © e Cock (1781-1871), was the daughter of an aunt on the English side of the family and a tax collector in Croydon. She has joined the Ruskin family when she became a friend of John James's mother, Catherine.
John James hopes to practice law, and is articulated as an employee in London. His father, John Thomas Ruskin, described as a grocery merchant (but apparently an ambitious wholesaler), was an incompetent businessman. To save the family from bankruptcy, John James, whose caution and success stood in stark contrast to his father, taking on all the debts, finishing the last of them in 1832. John James and Margaret got engaged in 1809, but opposed the union of John Thomas, and the issuance of debt, delaying their marriage which was finally done without celebration in 1818. John James died on March 3, 1864 and was buried in the churchyard of St. John the Evangelist, Shirley, Croydon.
Childhood and education
Ruskin was born in 54 Hunter Street, Brunswick Square, London (destroyed 1969), south of St Pancras train station. His childhood was marked by the contrasting influence of his father and mother, both very ambitious to him. John James Ruskin helped develop his son's Romanticism. They share the passion for the works of Byron, Shakespeare, and especially Walter Scott. They visited Scott's home, Abbotsford in 1838, but Ruskin was disappointed with his performance. Margaret Ruskin, an Evangelical Christian, who was more cautious and restrained than her husband, taught young John to read the King James Bible from beginning to end, and then start all over again, doing a big part to remember. His language, images and stories have a profound and lasting effect on his writing.
Ruskin's childhood was spent since 1823 at 28 Herne Hill (destroyed around 1912), near the village of Camberwell in South London. It was not an experience without friends and no toys that he later claimed in his autobiography, Praeterita (1885-89). He was educated at home by his parents and private tutors, and 1834-1835 attended school at Peckham run by progressive evangelical, Thomas Dale (1797-1870). Ruskin heard Dale's lecture in 1836 at King's College, London, where Dale was the first Professor of English Literature. Ruskin went on to enroll and complete his studies at King's College, where he prepared Oxford under Dale's guidance. Travel
Ruskin is heavily influenced by the vast and privileged journey that he enjoyed in his childhood. Travel helps build up the taste and adds to his education. His father visited business clients in British country houses, exposed him to the British landscape, architecture and paintings. The tour took them to the Lake District (his first long poem, Iteriad , a report of his 1830 tour) and relationships in Perth, Scotland. In early 1825, the family visited France and Belgium. Their continental tour became increasingly ambitious in scope, so in 1833 they visited Strasbourg, Schaffhausen, Milan, Genoa, and Turin, places where Ruskin often returned. He developed his life-long love of the Alps, and in 1835 he first visited Venice, that 'Paradise city' that shaped the symbolism and subjects of much of his later work.
The tour provides Ruskin with the opportunity to observe and record his natural impressions. He composes elegant poems when most are conventional, some of which are published in Friendship Friendship . The earliest notebooks and sketchbooks are full of sophisticated, technically advanced maps, landscapes and landscapes, great for kids of her age. He was strongly influenced by a copy of Samuel Rogers's poem, Italian (1830), which was given to him as a 13th birthday present. In particular, he greatly admired the accompanying illustrations by JMW Turner, and most of his art in the year The 1830s were a replica of Turner, and Samuel Prout the Sketch Created in Flanders and Germany (1833) he also admired. His artistic skills are perfected under the care of Charles Runciman, Copley Fielding and James Duffield Harding.
Ruskin's first publication
Ruskin's journey also inspires writing. His first publication was the poem "On Skiddaw and Derwent Water" (originally titled Lines written at Lakes in Cumberland: Derwentwater and published in Spiritual Times ) (August 1829). In 1834 three short articles for Loudon Magazine of Natural History were published. They show early signs of skill as close "scientific" observers, especially geologists.
From September 1837 to December 1838, Ruskin's The Poetry of Architecture was authorized in Loudon's Oxford
In Michaelmas 1836, Ruskin was educated at Oxford University, taking up residence at Christ Church in January of the following year. Registered as an ordinary man, he enjoyed the same status with his aristocratic counterparts. Ruskin was generally uninspired by Oxford and suffered from illness. Perhaps the sharpest advantage of his stay was found in some, the close friendships he made. His tutor, Rev. Walter Lucas Brown, is always encouraging, as is a young senior teacher, Henry Liddell (later father of Alice Liddell) and a private tutor, Rev Osborne Gordon. He became close to the natural geologist and theologian, William Buckland. Among his fellow Ruskin colleagues, his most important friends are Charles Thomas Newton and Henry Acland.
His greatest success occurred in 1839 when in the third attempt he won a Newdigate Prize for poetry (Arthur Hugh Clough came second). He met William Wordsworth, who received the honorary title, at the ceremony. But Ruskin never achieved independence at Oxford. Her mother was staying at High Street and her father joined them over the weekend. His health was bad and he was devastated when he heard his first love, AdÃÆ'¨le Domecq, the second daughter of his father's business partner, engaged to the French nobility. In the midst of the exam revision, in April 1840, he coughed up blood, increased consumption fears, and caused a long break from Oxford.
Before he came back, he answered the challenge set by Effie Gray, whom he later married. Twelve-year-old Effie asked her to write fairy stories. During a six-week break at Leamington Spa to undergo Dr. salt water healing. Jephson (1798-1878), Ruskin wrote his only fictional work, the fairy tale, the Golden River King (published in December 1850 (but printed 1851) illustrated by Richard Doyle). A work of Christian sacrifice and charitable sacrifice, it is arranged in a lovable and well known Ruskin Alps landscape. It remains the most translated of all of his work. At Oxford, he earned a graduation degree in 1842, and was awarded an unusual fourth grade honors degree in recognition of his achievements.
Modern Painters I (1843)
Most of the period, from late 1840 to autumn 1842, Ruskin spent overseas with his parents, especially in Italy. His study of Italian art was primarily guided by George Richmond, to whom Ruskins was introduced by Joseph Severn, a friend of Keats (whose son, Arthur Severn, married Ruskin's cousin Joan). He was encouraged to write a defense against J. M. W. Turner when he read an attack on some of Turner's pictures on display at the Royal Academy. It remembers an attack by a critic, the Rev John Eagles, at Blackwood's Magazine in 1836, which has prompted Ruskin to write a long essay. John James sent the piece to Turner who did not want to be published. Finally appeared in 1903.
Before Ruskin embarked on Modern Painters, John James Ruskin began collecting watercolors, including the work of Samuel Prout and, from 1839, Turner. Both painters were among the occasional guests of Ruskins in Herne Hill, and Danish Hill (destroyed 1947) where the family moved in 1842.
What became the first volume of Modern Painters (1843), published by Smith, Elder & amp; Co under the anonymous but authoritative title, "A Graduate of Oxford," was Ruskin's response to the Turner critics. The electronic edition is available online. Ruskin controversially argues that modern landscape painters - and especially Turner - are superior to the so-called "Old Masters" of the post-Renaissance period. Ruskin states that Old Masters like Gaspard Dughet (Gaspar Poussin), Claude, and Salvator Rosa, unlike Turner, prefer the pictorial conventions, and not "truth to nature". He explains that he means "moral as well as material truth". The job of the artist is to observe the reality of nature and not to create it in the studio - to make what has been seen and understood imaginatively on the canvas, free from the rules of composition. For Ruskin, modern landscape experts demonstrate a superior understanding of the "truth" of water, air, clouds, rocks and vegetation, the deep appreciation that Ruskin demonstrates in his own prose. He described his works he had seen in the National Gallery and Dulwich Picture Gallery with extraordinary verbal grace.
Despite criticisms of slow reactions and mixed reviews, many literary and artistic figures were impressed with the youth's work, notably Charlotte Bronta and Elizabeth Gaskell. Suddenly Ruskin found his headquarters, and in one jump helped redefine the genre of art criticism, mixing polemical discourse with aesthetics, scientific observations, and ethics. It strengthens Ruskin's relationship with Turner. After the artist died in 1851, Ruskin cataloged nearly 20,000 sketches that Turner gave to the British.
1845 tour and Modern Painters II (1846)
Ruskin visited the continent again with his parents in 1844, visiting Chamonix and Paris, studying the geology of the Alps and the Titian, Veronese and Perugino paintings among them in the Louvre. In 1845, at the age of 26, he traveled without his parents for the first time. This gave him the opportunity to study medieval art and architecture in France, Switzerland, and especially Italy. In Lucca he saw the Tomb of Ilaria del Carretto by Jacopo della Quercia which Ruskin regarded as an example of a Christian statue (he later associated it with his object of love, Rose La Touche). He was inspired by what he saw at Campo Santo in Pisa, and in Florence. He was deeply impressed by the works of Fra Angelico and Giotto di San Marco, and Tintoretto di Scuola di San Rocco but worried about the combined effects of decay and modernization in Venice: "Venice is lost to me," he wrote. It crystallizes a lifelong belief that restoring is destructive, and that the only true path is conservation and conservation.
Drawing on his journey, he wrote the second volume of Modern Painters (published April 1846). Volume is more concentrated on Renaissance artists and pre-Renaissance than Turner. It is a more theoretical work than its predecessor. Ruskin explicitly associates aesthetics and the divine, on the grounds that truth, beauty, and religion are closely bound together: "The Beautiful as a gift of God". In defining the categories of beauty and imagination, Ruskin argues that all great artists should see beauty and, with their imagination, communicate it creatively through symbols. Generally, critics gave this second volume a warmer reception although many found attacks on aesthetic orthodoxy associated with Sir Joshua Reynolds difficult to take. In summer, Ruskin is out of the country again with his father who still hopes his son can become a poet, even a prize-winning poet is just one of many factors that increase the tension between them.
Maps John Ruskin
Medium (1847-1869)
Marriage to Effie Gray
During 1847 Ruskin became closer to Effie Gray, daughter of family friends. It was for Effie who had written Ruskin King of the Golden River . The couple got engaged in October. They were married on April 10, 1848 at his home, Bowerswell, in Perth, formerly the Ruskin residence. It was the place of the suicide of John Thomas Ruskin (Ruskin's grandfather). Mostly because of this association, Ruskin's parents are not present. The European Revolution of 1848 meant that the first journey of the newlyweds was limited, but they could visit Normandy, where Ruskin admired Gothic architecture.
Their initial life together was spent at 31 Park Street, Mayfair (next address including 6 nearby Charles Street, and 30 Herne Hill) secured to them by Ruskin's father. Effie was too ill to tour Europe in 1849, so Ruskin visited the Alps with her parents, collecting material for the third and fourth volumes of Modern Painters. He was struck by the contrast between the beauty of the Alps and the poverty of Alpine farmers, stirring up the increasingly sensitive social conscience.
Marriage, not perfected, then dissolved under disputes and eventual cancellation.
Architecture
Ruskin's growing interest in architecture, and especially in the Gothic revival, led to his first work to bear his name, The Seven Lamps Architecture (1849). It contains 14 plates carved by the author. The title refers to seven moral categories that Ruskin considers important and inseparable from all architecture: sacrifice, truth, power, beauty, life, memory, and obedience. All will give a recurring theme in his work.
Seven Lights promote the goodness of the secular and Protestant forms of the Gothic. It was a challenge for the Catholic influence of A. W. N. Pugin.
In August 1850, Ruskin and Effie were at Wenlock Abbey where Ruskin sketched a few arches at Norman Bab House, used at The Stones of Venice.
The Stones of Venice
In November 1849, Effie and John Ruskin visited Venice, staying at the Danieli Hotel. Their different personalities are thrown into sharp relief by their contrasting priorities. For Effie, Venice provides an opportunity to socialize, while Ruskin is involved in solitary studies. In particular, he made the point of drawing Ca 'd'Oro and the Doge Palace, or Palazzo Ducale, as he feared they would be destroyed by the Austrian occupation forces. One of these troops, Lieutenant Charles Paulizza, befriended Effie, apparently without objection from Ruskin. His brother, among other things, later claimed that Ruskin was deliberately encouraging friendship to compromise with him, as an excuse to split up.
Meanwhile, Ruskin made extensive sketches and notes that he used for his three-volume work, The Stones of Venice (1851-53). Growing from the technical history of Venetian architecture, from Romanesque to Renaissance, to a wide cultural history, the Stones also reflects Ruskin's view of contemporary England. It acts as a warning about the moral and spiritual health of the community. Ruskin argues that Venice is slowly deteriorating. His cultural achievements have been compromised, and his society is undermined, by the decline of the true Christian faith. Rather than honoring the divine, Renaissance artists appreciate themselves, arrogantly celebrating human sensuality.
This chapter, 'The Nature of Gothic' appears in the second volume of Stones . Praising Gothic ornaments, Ruskin argues that it is an expression of artisan delight in creative and free work. Workers should be allowed to think and express their own personality and ideas, ideally using their own hands, not machines.
We want one person to think, and the other always work, and we call one gentleman, and the other an operative; whereas the worker should often think, and the thinker often works, and both must be men, in the best sense. Therefore, we make both strong, envious, others insulting, brother; and the mass of society consists of morbid thinkers and miserable workers. Now only with the labor of mind can it be made healthy, and only with the thought that work can be made happy, and both can not be separated by impunity.
This is an aesthetic attack, and social criticism of the division of labor in particular, and industrial capitalism in general. This chapter has had a huge impact, and was reprinted by the Christian socialist founder of Working Men College and later by the pioneer of Arts and Crafts and socialist William Morris.
Pre-Raphaelites
John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti have set up the Pre-Raphael Ikhwanat in 1848. Pre-Raphael's commitment to 'naturalism' - "drawing only from nature", which describes nature in fine detail, has been influenced by Ruskin.
Ruskin made contact with Millais after the artists approached him through their friend, Coventry Patmore. Initially, Ruskin was not impressed by Millais's Christ in the House of His Parents (1849-50), a painting that was considered blasphemous at the time, but Ruskin wrote a letter defending the PRB for The Times in May 1851. Providing Millais with artistic support and encouragement, in the summer of 1853 the artist (and his brother) traveled to Scotland with Ruskin and Effie where, in Glenfinlas, he painted a carefully observed landscape background. a gneiss stone that, as always meant, he then added a portrait of Ruskin.
Millais had painted Effie for The Order of Release, 1746, exhibited at the Royal Academy in 1852. Suffering from acute physical illness and mental anxiety, Effie was arguing violently with her husband and her strong protector and excessive. parents, and seeking entertainment with their own parents in Scotland. Ruskin's marriage had been severely damaged when he and Millais fell in love, and Effie left Ruskin, causing a public scandal.
In April 1854, Effie filed a zero suit, on a "non-refinement" basis for his "incurable incapacity", Ruskin's alleged controversy later disputed. Ruskin wrote, "I can prove my virility at once." The cancellation was granted in July. Ruskin did not even mention it in his diary. Effie married Millais the following year. The complex reason for the non-compliance and major failure of Ruskin's marriage is the issue of ongoing speculation and debate.
Ruskin continues to support Hunt and Rossetti. He also gave an annuity of Ã, Â £ 150 in 1855-57 to Elizabeth Siddal, Rossetti's wife, to encourage his art (and pay Henry Acland for medical treatment). Other artists influenced by Pre-Raphael also received critical and financial support from Ruskin, including John Brett, John William Inchbold, and Edward Burne-Jones who became good friends (he called him "Brother Ned"). His father's disapproval of such friends was another cause of considerable tension between them.
During this period Ruskin wrote regular reviews of the annual exhibition at the Royal Academy under the title Academy Note (1855-59, 1875). They are very influential, able to create and break the reputation. The satirical magazine, Punch , for example, publishes a line (May 24, 1856), "I paint and paint,/do not hear complaints/And sell before I dry,/Until savage Ruskin/He ivory stick in/Later no one will buy. "
Ruskin is an art philanthropist: in March 1861 he gave 48 Turner images to Ashmolean at Oxford, and another 25 to the Fitzwilliam Museum, Cambridge in May. Ruskin's own work is very distinctive, and sometimes he exhibits his watercolors: in the United States in 1857-58 and 1879, for example; and in England, at the Fine Art Society in 1878, and at the Royal Society of Painters in Watercolor (where he became a member of honor) in 1879. He created many careful studies of natural forms, based on botanical, geological and observation of architecture. Examples of his work include floral painting pilasters painted in Wallington Hall's living room in Northumberland, the home of his friend Pauline Trevelyan. The stained glass windows at the famous Franciscan Church of Funtley, Fareham, Hampshire had been designed by him. Originally placed at St. Church of Peter Duntisbourne Abbots near Cirencester, the window illustrates the Ascension and Birth of Jesus.
Ruskin's theory also inspired some architects to match Gothic styles. Such a building creates the so-called typical "Gothic Ruskinian". Through his friendship with Sir Henry Acland, from 1854 Ruskin supported efforts to establish what became Oxford University's Natural History Museum (designed by Benjamin Woodward) which was the closest thing to this style model, but still failed completely to satisfy Ruskin. The many intricacies in the Museum's development, not least the ever-increasing cost, and the university's lack of enthusiasm, proved increasingly frustrating to Ruskin.
Ruskin and education
The museum is part of a broader plan to improve the supply of science at Oxford, something the University initially opposed. The mid-1850s saw Ruskin's first direct involvement in education, as he taught drawing classes (assisted by Dante Gabriel Rossetti) at the Worker Men's College, founded by Christian socialist Frederick James Furnivall and Frederick Denison Maurice. Although he does not share the founding politics, he strongly supports the idea that through educational workers can achieve an important understanding of self-satisfaction. One result of this involvement was Ruskin's Elements of Drawing (1857). He has taught some women to draw with letters, and his book is the response and challenge for the contemporary image manual. It is also a useful recruitment ground for assistants, some of whom will rely on Ruskin, like his future publisher, George Allen.
From 1859 to 1868, Ruskin was involved with a progressive school for girls at Winnington Hall in Cheshire. A frequent visitor, writer of letters, and donor of drawings and geological specimens, Ruskin accepts the mix of sports, crafts, music and dance held by his school principal, Miss Bell. This association led to the work of sub-Socrates Ruskin, The Ethics of the Dust (published in 1865 December, printed 1866), a conversation imagined with the Winnington girls where he established himself as "Lecturer". On the surface of a discourse on crystallography, it represents the exploration of the metaphor of social and political ideals. In the 1880s, Ruskin became involved with another educational institution, Whitelands College, a training college for teachers, where he instituted a May Queen festival that endures to this day. (It was also replicated in the 19th century at Cork High School for Girls.)
Modern Painters III and IV
Both volume III and IV of Modern Painters were published in 1856. In Ruskin III Ruskin argues that all great art is "the expression of the spirits of the great man." Only morally and spiritually healthy people are able to admire the noble and the beautiful, and turn them into great art by imaginatively penetrating their essence. MP IV presents the Alpine geology in terms of landscape painting, and its moral and spiritual influence on those living nearby. The final contrasting chapters, "The Mountain Glory" and "The Mountain Gloom" provide an early example of Ruskin's social analysis, highlighting the poverty of farmers living in the lower Alps.
General professor
In addition to his more formal teaching classes, Ruskin became an increasingly popular lecturer in the 1850s. The first in Edinburgh, in November 1853, on architecture and painting. The lecture at the Art Exhibition Exposition, Manchester in 1857, was collected as a Political Economy of Art and subsequently under the sentence of Keats, A Joy For Ever. He talks about how to acquire, and how to use art, on the grounds that Britain has forgotten that true wealth is virtue, and that art is the index of the welfare of a nation. Individuals have a responsibility to consume wisely, stimulating useful requests. The increasingly critical tone and political nature of Ruskin's intervention angered his father and economist "School of Manchester", represented by an unfriendly review at the Manchester Examiner and Times. As Ruskin scholar, Helen Gill Viljoen, notes Ruskin is increasingly critical of his father, especially in letters written by Ruskin directly to him, many of them still unpublished.
Ruskin gave his inaugural address at the Cambridge School of Art in 1858, an institution where modern Anglia Ruskin University has grown. The Two Paths (1859), five lectures given in London, Manchester, Bradford and Tunbridge Ruskin argue that 'important law' supports art and architecture, utilizing the value theory of work. (For addresses and other letters, Cook and Wedderburn, vol.16, pp.Ã, 427-87.) The year 1859 also marked his last tour in Europe with his elderly parents, to Germany and Switzerland.
Turner of the Testament
Ruskin had been in Venice when he heard of Turner's death in 1851. Named an executor to Turner, it was an honor that Ruskin denied respectfully, but then took over. In 1856 Ruskin's book in a sea celebration, The Harbors of England , revolved around Turner's picture, was published. In January 1857, Ruskin's Notes at Turner Gallery at Marlborough House, 1856 were published. He persuaded the National Gallery to allow him to work on Heritage Turner from nearly 20,000 individual artworks submitted to the nation by artists. This involved Ruskin in a large number of jobs, completed in May 1858: cataloging, framing, and preserving. 400 watercolors are shown in Ruskin's design cabinets. The scholarship recently argued that Ruskin did not, as he had predicted, colluded in the destruction of Turner's erotic picture, but his work on the Heritage changed his attitude toward Turner. (See below, Controversy: Erotic Image Turner)
Religion "unconverted"
In 1858, Ruskin again traveled in Europe. The tour took him from Switzerland to Turin where he saw the Queen Sheba Spoken by Paolo Veronese . He then claimed (in April 1877) that the discovery of this painting, in contrast to the very tedious sermon, led to the "irrelevance" of Evangelical Christianity. In reality, however, he has been doubting his Christian faith for some time, threatened by Biblical and geological scholarship that has undermined the literal truth and absolute authority of the Bible: "that awful hammer!" he wrote to Henry Acland, "I hear their voices at the end of every rhythm of Bible verses." This "loss of faith" triggered a considerable crisis. His belief was undermined, he believed that much of his writings to date have been established on the basis of lies and half truths. He then returned to Christianity.
Social Critic and reformer: To This Last
Although Ruskin said in 1877 that in 1860, "I let go of my art and write To This Last...... the main work in my life" breaks are not so dramatic or final. After his confidence crisis, and partially influenced by his friend Thomas Carlyle (whom he first met in 1850), Ruskin's emphasis shifted from art to social issues from the late 1850s. Nevertheless, he continued to teach and write about very fascinating subjects including art and, among many others, geology (in June 1863 he taught in the Alps), art practice and judgment ( The Cestus of Aglaia ), botany and mythology ( Proserpina , Queen of Air ). He kept drawing and painting in watercolors, and traveled all over Europe with his servants and friends. In 1868, his journey took him to Abbeville, and the following year he was in Verona (studying the tombs for the Arundel Society) and Venice (where he joined William Holman Hunt). However, Ruskin increasingly focused his energies to attack industrial capitalism viciously, and the utilitarian political economic theories that supported him. He rejected his eloquent style, writing now with a clearer, simpler language, to communicate his message straightforwardly.
Ruskin's social outlook extends from concerns about the dignity of the workers to consider broader citizenship issues, and the idea of ​​an ideal community. Just as he questioned the aesthetic orthodoxy in his earliest writings, he now discusses the orthodox political economy supported by John Stuart Mill, based on the laissez-faire theory and competition drawn from the work of Adam Smith, David Ricardo and Thomas Malthus. In his four essays, Ruskin denies the division of labor as dehumanizing, and argues that the "science" of political economy fails to consider the social affection that binds the community together. Ruskin articulates an expanded metaphor about households and families, drawing on Plato and Xenophon to show communal attitudes and sometimes true economic sacrifices. For Ruskin, all economies, and all societies ideally are covered by social justice politics. Ruskin's ideas influence the concept of "social economy" that is characterized by networks of charitable, cooperative, and other non-governmental organizations.
The essay was originally published in consecutive monthly installments of the new Cornhill Magazine between August and November 1860 and published in a single volume in 1862. However, its editor, William Makepeace Thackeray, was forced to leave the series by most protests conservative and fear of nervous publishers (Smith, Elder & Co.; The reaction of the press was hostile, and Ruskin, he claimed, was "repressed in a violent way". His father also strongly disagree. Others were enthusiastic, including Ruskin's friend Thomas Carlyle, who wrote, "I have read your paper with excitement... such a thing suddenly becomes half a million boring British heads... going to do a lot of good things."
Ruskin's political ideas, and To This Last in particular, later proved to be influential, praised and paraphrased in Gujarati by Mohandas Gandhi, various autodidacts, economist John A. Hobson and many founders of the British Labor Party. Ruskin believes in a hierarchical social structure. He wrote, "I was, and my father was in front of me, a hard Tory from an old school." He believed in the duty and responsibility for, and below, God, and while he sought to improve the condition of the poor, he opposed attempts to equate social differences and sought to resolve social inequalities by abandoning capitalism for the cooperative structure of society based on obedience and philanthropy good, rooted in the agricultural economy.
If there is a point that forces my whole work more often than others, that one point is the impossibility of Equality. My constant goal is to show people's eternal superiority to others, sometimes even from one person to another; and to demonstrate also the appropriateness of appointing such persons or persons to guide, lead, or sometimes even force and subdue, their subordinates, according to their better knowledge and the wiser will.
Ruskin's natural and aesthetic explorations in the fifth and final volume of Modern Painters focused on Giorgione, Paolo Veronese, Titian and Turner. Ruskin asserts that the greatest artistic component is united, like the human community, in a quasi-organic unity. Competitive struggle is destructive. Unifying Modern Painters V and To This Last is Ruskin's "Raw Help":
Government and cooperation in all things and forever the law of life. Anarchy and competition, permanently, and in all respects, the law of death.
Ruskin's next work on political economy, redefining some of the basic requirements of the discipline, also ended prematurely, when Fraser Magazine, under the editorial James Anthony Froude, cut short the Essay on Political Economy > (1862-63) (later collected as Munera Pulveris (1872)). Ruskin explores further political themes in Time and Tide (1867), his letters to Thomas Dixon, the cork cutter in Sunderland, Tyne and Wear with a steady interest in literature and art. In these letters, Ruskin promotes honesty in work and exchanges, only relationships in work and the need for cooperation.
Ruskin's political reason is not limited to theory. On the death of his father in 1864, Ruskin inherited considerable wealth between Ã, Â £ 120,000 and Ã, £ 157,000 (exact figure contested). The considerable legacy of the father he described on his tomb as a "perfectly honest dealer" gave him the means to engage in personal philanthropy and the practical scheme of social improvement. One of his first actions was to support the housing work of Octavia Hill (originally one of his art students), by buying property in Marylebone for his philanthropic housing scheme. But Ruskin's efforts expanded into a store that sold the most desirable wholesome tea at Paddington Street, Paddington (giving jobs to two former Ruskin family employees) and conducting sweeps to keep the area around the British Museum clean and tidy. As simple as this practical scheme, they represent a symbolic challenge to the state of society that exists. But his greatest practical experiment will come in his final years.
Lectures in the 1860s
Ruskin taught extensively in the 1860s, lecturing Rede at the University of Cambridge in 1867, for example. He speaks at the British Institute of 'Modern Art', the Men's Institute of Workers, Camberwell on "Work" and the Royal Military Academy, Woolwich on "War". The highly admired Ruskin teaching, Traffic , about taste and morality, was delivered in April 1864 at Bradford Town Hall, where he was invited for a local debate about the new Exchange style. building. "I do not care about this Exchange," Ruskin said to his audience, "because you're not!" These last three lectures were published in The Crown of Wild Olive (1866).
The lecture consisting of Sesame and Lilies (published 1865), delivered in December 1864 at the town hall in Rusholme and Manchester, basically deals with education and ideal behavior. "Of Kings Treasury" (to support library funding) explores issues of literary practice, literature (books of the hour vs. books of all time), cultural values ​​and public education. "Of Queens' Gardens" (focusing on school funding) focuses on the role of women, affirming their rights and obligations in education, according to them responsibility for the household and, with extension, to give human compassion that must balance a social order dominated by man. This book proves to be one of Ruskin's most popular books, and is regularly awarded as a Sunday School gift. However, the acceptance of the book over time, is increasingly diverse, and feminists of the twentieth century have targeted "Of Queens' Gardens" primarily as an attempt to "subvert the new heresy" of women's rights by restricting women to the domestic realm.
Next life (1869-1900)
Oxford Professor of Fine Arts first in the field of Fine Arts
Ruskin was unanimously appointed as the first Slade Art Professor at Oxford University in August 1869, mostly through the offices of his friend, Henry Acland. He delivered his inaugural lecture on his 51st birthday in 1870, at the Sheldonian Theater to a larger audience than expected. This is where he says, "The art of any country is an exponent of its social and political virtues." Thus, the effect on every man should be visible and moving. Cecil Rhodes appreciated a long copy of the lecture, believing that it supported his own view of the British Empire.
In 1871, John Ruskin founded his own art school in Oxford, the Ruskin School of Art and Art. It was originally housed within the Ashmolean Museum but now occupies a place on "High" (High Street). Ruskin blessed the mastery of drawing with £ 5,000 of his own money. He also created a large collection of drawings, watercolors and other materials (over 800 frames) to illustrate his lectures. The School challenges the orthodox, mechanical methodology of government schools ("South Kensington System").
His lectures are often so popular that they should be given twice - once for students, and again for the public. Most of it is finally published (see Bibliography). He lectured on various subjects in Oxford, his interpretation of "Art" covering almost every field of study, including wood and metal carvings (Ariadne Florentina ), the relationship of science to art ( The Eagle's Nest ) and sculpture ( Aratra Pentelici ). His lectures range from mythology, ornithology, geology, natural studies and literature. "The Doctrine of Art...," Ruskin wrote, "is the teaching of all things." Ruskin has never been cautious of offending his master. When he criticized Michelangelo in a lecture in June 1871, it was seen as an assault on a large collection of artist's works at the Ashmolean Museum.
Most controversial, from the standpoint of the University authorities, the audiences and the national press, was a scheme of excavation at Ferry Hinksey Road in North Hinksey, near Oxford, instigated by Ruskin in 1874, and continued until 1875, involving students in a road repair scheme. Motivated in part by the desire to teach the virtues of a healthy manual work, several diggers, including Oscar Wilde, Alfred Milner and Ruskin's future secretary and biographer, WG Collingwood, were strongly influenced by experience - notably Arnold Toynbee, Leonard Montefiore and Alexander Robertson MacEwen. It helped to cultivate a public service ethic which was then given expression in the university settlement, and was greatly celebrated by the founders of Ruskin Hall, Oxford.
In 1879, Ruskin resigned from Oxford, but resumed his professorship in 1883, resigned again in 1884. He gave his reasons as an opposition to vivisection, but he increasingly went against the authority of the University, who refused to extend his painting school. He also suffers from worsening health.
Fors Clavigera and the Whistler Libel Case
In January 1871, the month before Ruskin began giving lectures to rich undergraduate students at the University of Oxford, he began his monthly (originally) letters to the workers and workers of Great Britain under the title Fors Clavigera (1871). -84). (These letters were published irregularly after the 87th installment of March 1878.) These letters are personal, dealt with every subject in his oeuvre, and written in various styles, reflecting his mood and circumstances. From 1873, Ruskin had full control over all publications, having founded George Allen as a single publisher (see Allen & Unwin).
In a July 1877 letter from Fors Clavigera , Ruskin launched a spicy attack on paintings by James McNeill Whistler on display at the Grosvenor Gallery. He found a certain error with Nocturne in Black and Gold: Falling Rocket , and accused Whistler of "asking for two hundred guineas for throwing a pot of paint on a public face". Whistler filed a defamation suit against Ruskin. Whistler won the case, which went to court in Ruskin's absence in 1878 (he was sick), but the jury paid only one penny to the artist. Court fees are shared between both parties. Ruskin is paid for by a public subscription, but Whistler goes bankrupt within six months. The episode damaged Ruskin's reputation, however, and may have accelerated his mental decline. It does nothing to dampen Ruskin's exaggerated excessive displeasure in persuading his readers to share in his own deeply perceived priorities.
St George's Guild
Ruskin founded his Utopian society, the St. George Guild, in 1871 (though originally called St. George's Fund, and later St. George's Company, before becoming a Guild in 1878). The goals and objectives are articulated in Fors Clavigera . A communitarian venture, it has a hierarchical structure, with Ruskin as its Master, and a dedicated member called "Friends" whose first allegiance is almost always to Ruskin personally. Ruskin wants to show that contemporary life can still be enjoyed in the countryside, with traditionally planted land, with minimal mechanical assistance. With a tithing (or private donation) of £ 7,000, Ruskin acquires the land and a wonderful collection of books, art, and other precious and beautiful objects.
Ruskin bought his land initially at Totley, near Sheffield, but the agricultural element of his plan met with only moderate success after much difficulty. Land donations from rich and committed friends eventually put the land and property in the care of the Guild: Wyre Forest, near Bewdley, Worcestershire; Barmouth, in Gwynedd, northwest Wales; Cloughton, in North Yorkshire; and Westmill in Hertfordshire.
In principle, Ruskin arranges schemes for various levels of "Companion", writes codes of practice, describes dress styles, and even designs coins belonging to the Guild. Ruskin hopes to see St George's Schools established, and publishes various volumes to help with his teaching (his Bibliotheca Pastorum or Shepherd's Library), but the school itself was never founded. (In the 1880s, loosely related to Bibliotheca, he supported Francesca Alexander, published several stories about peasant life.) In reality, the Guild, which still exists today as a charitable organization, has only ever operate on a small scale.
Ruskin also wants to see traditional rural crafts revived. St George Mill was founded in Laxey, on the Isle of Man producing fabrics. The Guild also encourages independent efforts, but is allied in spinning and weaving in Langdale, in other parts of the Lake District and elsewhere, producing linen and other items exhibited by the Association of Home Arts and Industries and similar organizations.
In Sheffield, in 1875, Ruskin founded a museum for the people who worked in the city, and the surrounding area. Originally located in Walkley and curated by Henry Swan, the St George's Museum houses a large collection of artwork (original pencil sketches, architectural drawings, watercolors, copies of Old Masters and so on), minerals, geological specimens, manuscripts (many of them) origin) and many other beautiful and valuable items. Ruskin has written in Modern Painters III (1856) that, "the greatest thing that the human soul has ever done in this world is to see something, and to know what it is >> see in the usual way. "Through the Museum, Ruskin aims to bring to the eyes of people who work a lot from the sights and experiences if not limited to the wealthy who can travel through Europe. The original museum has been recreated online. In 1890, the Museum moved to Meersbrook Park. The current collection (2011) is on display at the Sheffield Millennium Gallery.
Rose La Touche
Ruskin has been introduced to the rich Irish La Touche family of Louisa, Marchioness of Waterford. Maria La Touche, a small Irish poet and novelist, asked Ruskin to teach his children drawing and painting in 1858. Rose La Touche was ten years old, Ruskin was nearly 39 years old. Ruskin is slowly falling in love with her. Their first meeting came at a time when Ruskin's religious faith was under pressure. This has always caused difficulties for the staunch Protestant La Touche family who on many occasions prevented both from meeting. Ruskin's love for Rose is the cause of turns of joy and depression deep for him, and always a source of anxiety. Ruskin proposed to him on or near his eighteenth birthday in 1867, but he asked him to wait three years for an answer until he was 21 years old. An opportunity meeting at the Royal Academy in 1869 was one of the few occasions they made personal contact. then. He eventually rejected it in 1872, but they sometimes still met, for the last time on February 15, 1875. After a long illness, he died on May 25, 1875, at the age of 27 years. These events made Ruskin desperate and increasing. severe attacks of mental illness involving a number of disturbances and delirious eyesight. The first occurred in 1871 in Matlock, Derbyshire, a city and region that he knew of his childhood journey, whose flora, fauna, and minerals helped shape and strengthen his appreciation and understanding of nature. Ruskin turned to spiritualism and took turns amused and disturbed by what he believed was his ability to communicate with the dead Rose.
Travel guide
Ruskin continues to travel, studying the landscape, buildings, and European art. In May 1870 and June 1872 he admired Carpaccio's St Ursula in Venice, a vision that, associated with Rose La Touche would haunt him, is described in the pages of Fors . In 1874, on his way to Italy, Ruskin visited Sicily, the furthest place he had ever been to.
Ruskin embraces emerging literary forms, travel guides (and gallery guides), writing new works, and adapting old works "to give," he says, "what guidance I can get for pedestrians..." > The Stones of Venice was revised, edited and published in the new "Edition of Updates" in 1879. Ruskin directs his readers, prospective explorers, to see with his cultural gaze in the landscape, buildings and art of France and Italy: > The morning of Florence (1875-77), The Bible of Amiens (1880-85) (a closer study of sculpture and wider history), St. Mark's Rest (1877-84) and Guide to Main Picture in... Venice (1877).
Back to confidence
In December 1875 Ruskin's desire for a meaningful universe and life after death, both for himself and his loved ones, brought him back to Christianity. He never publicly links the date and cause of his return to faith, but his letter shows that on December 20, 1875, a spiritual leader at Broadlands assured him that the ghost of Rose La Touche had appeared at his side.
While the direct connection between Ruskin's faith and this event can not be done, the subsequent writings indicate a return to Christianity. In Praeterita he insists that Christ will return "and judge everyone according to his work". This belief is often unquestionable, and even anti-intellectual. An example of this is the 1876 letter, in which he "does not think the question of the Trinity or Unity is one for human beings to address." Last post
In the 1880s, Ruskin returned to some of the literature and themes that had been his favorite since childhood. He wrote about Walter Scott, Byron and Wordsworth in Fiction, Fair and Foul (1880) and returned to meteorological observations in his lecture, The Storm-Cloud of the Nineteenth-Century (< 1884), illustrates the real effects of industrialization on weather patterns. Ruskin's
His last major work is his autobiography, Praeterita (1885-89) (which means, 'Of Past Things'), a very personal, selective, eloquent but incomplete story from the aspect his life, a preface from the one written in his children's room at Herne Hill.
The period from the late 1880s was one of the steady and non-negotiable declines. Gradually it became too difficult for him to go to Europe. He suffered total destruction on his last tour, which included Beauvais, Sallanches and Venice, in 1888. The emergence and domination of the Aesthetics and Impressionism movement distanced Ruskin from the world of modern art, his ideas on social use of art contrasted with "l'art pour l 'art "or" art for the sake of art "that began to dominate. His writings are then increasingly seen as irrelevant, especially as he seems more interested in book illustrators such as Kate Greenaway than in modern art. He also attacked Darwin's theory with increasing violence, though he knew and respected Darwin personally.
Brantwood
In August 1871, Ruskin bought from a rather dilapidated W. J. Linton Brantwood, on the edge of Air Coniston, in the Lake District of England, paying £ 1500. It remains open to visitors today. It was Ruskin's main house from 1872 until his death. His plantation provides a place for more schemes and practical experiments: an ice house is built, the gardens are completely rearranged, he oversees the construction of a larger port (from where he rides his boat, Jumping Jenny) ), and change the house (add a dining room, turret to his bedroom to give a panoramic view of the lake, and then expand further to accommodate his relatives). He built the reservoir, and directed the waterfall down the hills, adding a slate spot that overlooks the flow of water rather than the lake, so he could observe the fauna and flora on the hillside.
Although Ruskin's 80th birthday was widely celebrated in 1899 (various Ruskin communities gave him congratulatory addresses), Ruskin hardly noticed. He died in Brantwood from influenza on January 20, 1900 at the age of 80. He was buried five days later in the church yard in Coniston, according to his wishes. As she gets weaker, suffers from a prolonged mental illness (thinks in retrospect has CADASIL syndrome), she has been raised by second cousin Joan (na) Severn (formerly "escort" to Ruskin's mother) and she inherits her possessions. "Joanna's Care" is an impressive last chapter of her memoirs that she dedicated to her as a worthy honor.
Joan Severn, along with Ruskin's secretary, W. G. Collingwood, and his famous friend, Charles Eliot Norton, were the executors for Will. E. T. Cook and Alexander Wedderburn edited the monumental 39-volume Library Edition from Ruskin's Works, the last volume, the index, attempting to articulate the complex connection of Ruskin's thinking. They all act together to guard, and even control, Ruskin's public and personal reputation.
One hundred years of Ruskin's birth was greatly celebrated in 1919, but his reputation has declined and sank further in the next fifty years. The contents of Ruskin's house were scattered in a series of sales at auction, and Brantwood himself was bought in 1932 by educator and Ruskin enthusiast, collector and cemetery, John Howard Whitehouse. In 1934, it was opened to the public as a permanent warning to Ruskin.
Personal appearance
In middle age, and in his time as a lecturer, Ruskin was described as slim, perhaps short, with a crooked nose and sharp and piercing blue eyes. Often wearing a double-breasted vest, high collar and, if necessary, a skirt of a skirt, she also wears a special blue-necked cloth. From 1878 he developed an increasingly long beard, and took the look of a "Old Testament" prophet.
In 1884, 17-year-old Beatrix Potter saw Ruskin at the Royal Academy of Arts exhibition. He writes in his journal, "Mr. Ruskin is one of the most ridiculous figures I've ever seen." A very old hat, lots of old ties and coats buttoned around his neck, bent, not too clean looking.He was wearing high boots, and one of his pants tucked up at the top.He became aware of this in the middle of the room, and stood with one foot to straighten it, but in doing so raise the trousers worse than the first had been. "
Legacy
International
The influence of Ruskin reaches the whole world. Tolstoy describes it as "one of the most remarkable men not only of England and of our generation but of all countries and times" and quoted extensively from it, translating his words into Russian. Proust not only admired Ruskin but helped translate his work into French. Gandhi wrote of the "magic spell" that was thrown at him by To This Last and paraphrased the work in Gujarati, calling it Sarvodaya , "Progress All". In Japan, Ryuzo Mikimoto actively collaborates in Ruskin's translation. He commissioned sculptures and various memorial items, and incorporated the Ruskinian rose motif into the jewelry produced by his pearl kingdom. He founded Ruskin Society of Tokyo and his sons built a special library to accommodate his Ruskin collection.
A number of Utopian Ruskin socialist colonies sought to realize his political ideals. These communities include Ruskin, Florida, Ruskin, British Columbia and the Ruskin Commonwealth Association, a colony in Dickson County, Tennessee from 1894 to 1899.
Ruskin's works have been translated into various languages ​​including, besides those already mentioned (Russian, French, Japanese): German, Italian, Spanish, Portuguese, Hungarian, Polish, Swedish, Danish, Dutch, Chinese, Welsh and even Esperanto and Gikuyu.
Art, architecture and literature
The theorists and practitioners in various disciplines admitted their debt to Ruskin. Architects including Le Corbusier, Louis Sullivan, Frank Lloyd Wright and Walter Gropius incorporated Ruskin's ideas in their work. Different authors like Oscar Wilde, G. K. Chesterton and Hilaire Belloc, T. S. Eliot, W. B. Yeats and Ezra Pound feel the influence of Ruskin. The American poet, Marianne Moore, is an enthusiastic Ruskin reader. Historians and art critics, among them Herbert Read, Roger Fry, and Wilhelm Worringer know Ruskin's work well. His admirers ranged from British-born penguins and engravers to John William Hill to sculptors-designers, printers, and utopianists, Eric Gill. In addition to E. T. Cook, editor and biographer Ruskin, other prominent British journalists influenced by Ruskin include J. A. Spender, and war correspondent, H. W. Nevinson.
Crafts and preservation
William Morris and C. R. Ashbee (Fellowship of Crafts) are keen disciples, and through them, Ruskin's heritage can be traced in the arts and crafts movement. Ruskin's idea of ​​open space preservation and the conservation of buildings and historic sites inspired his friends, Octavia Hill and Hardwicke Rawnsley, to help find the National Trust.
Society and education
City planning pioneers, such as Thomas Coglan Horsfall and Patrick Geddes, call Ruskin an inspiration and come up with ideas in their writings. The same applies to the founders of the garden city movement, Ebenezer Howard and Raymond Unwin.
The Edward Carpenter community in Millthorpe, Derbyshire was partly inspired by Ruskin, and John Kenworthy's colony in Purleigh, which was a refuge for the Doukhobors, combined the ideas of Ruskin and Tolstoy.
The most productive Ruskiniana gatherer is John Howard Whitehouse, who saved Ruskin's home, Brantwood, and opened it as a permanent monument to Ruskin. Inspired by Ruskin's educational ideals, Whitehouse founded Bembridge School, on the Isle of Wight, and ran along the Ruskinian line. The educator from William Jolly to Michael Ernest Sadler writes about and appreciates Ruskin's ideas. Ruskin College, an educational institution
Source of the article : Wikipedia
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