John Ruskin

En 1845, el mismo año en que Ruskin visitó Florencia por vez primera, Thoreau escribió enWalden:“La mañana es la hora del despertar. Es entonces cuando estamos menos soñolientos y, al menos duranteun

En 1860 la Arundel Society de Londres publicó, bajo el título The Frescoes of Giotto, la serie de grabados realizados a partir de las obras que el artista florentino pintara en la capilla de la Arena de Padua sobre el año 1305. El libro, que ofrecemos hoy por primera vez en español, incluia una larga reflexion en forma de introduccion sobre la relacion del arte de Giotto con otras creaciones anteriores y posteriores, ademas de comentarios a cada una de las laminas, realizados por John Ruskin, socio fundador de la Sociedad y uno de los intelectuales mas prestigiosos e influyentes de finales del siglo XIX y principios del XX. Como historiador y critico de arte, fueron seguramente sus viajes a Italia y el conocimiento de los viejos maestros (Giotto, Cimabue, Fra Angelico, Tintoretto), junto a la lectura profunda de Dante, los referentes esteticos que marcaron los años en los que escribio estas fascinantes glosas a los frescos inmortales de Padua, que, mas alla del mero relato historico, consiguen poner de manifiesto la extraordinaria osadia de las composiciones, fijandose en detalles aparentemente menores que sin embargo abren nuestra percepcion a cuestiones ocultas, mucho mas significativas que el mero relato secuencial. Porque (como precisa con lucidez Andreu Jaume en el prolo

In "Mornings in Florence," John Ruskin artfully merges his profound appreciation for art, architecture, and the beauty of the natural world with a personal narrative that captures the essence of his experiences in the Italian city. Written in a lyrical yet accessible style, Ruskins prose reflects the Gothic revival movement and the burgeoning fascination with the Pre-Raphaelites, seamlessly weaving together observations on Florentine landmarks, such as the Duomo and Ponte Vecchio, alongside philosophical musings on art and beauty. This work serves not only as a travelogue but also as a meditation on the profound relationship between art and the human experience, illustrating how the cultural heritage of Florence has been a recurring inspiration throughout history. John Ruskin, a prominent Victorian art critic, social thinker, and philanthropist, found himself profoundly influenced by his travels in Italy, particularly Florence. His engagement with the citys historical context and artistic legacy deeply resonated with Ruskins advocacy for the Gothic style in opposition to the industrial ages mechanistic tendencies. His background in art education and his position as a critic provide a lens through which he interprets Florence, transforming his personal journey into an intellectual exploration of culture and morality. "Mornings in Florence" is highly recommended for readers interested in the intersections of art, philosophy, and travel literature. Spanning beyond mere descriptions, Ruskins reflections offer valuable insights into how art shapes and enriches life. As both a guide and a philosophical companion, this book invites readers to immerse themselves in the beauty of Florence while pondering the broader implications of aesthetic experience.

In Of Vulgarity, John Ruskin delves into the cultural perceptions of vulgarity and its impacts on society and the arts. Through a combination of critical analysis and philosophical pondering, Ruskin explores the complexities of what constitutes vulgarity and how it influences social norms and artistic expression in the Victorian era. His eloquent prose and insightful commentary shed light on the intricate relationship between aesthetics, morality, and societal standards, making this book a valuable contribution to the field of cultural studies. Ruskins writing style is both profound and accessible, inviting readers to contemplate the deeper meaning behind seemingly trivial actions and choices. As a renowned art critic and social thinker, Ruskins perspectives in Of Vulgarity are shaped by his observations of the changing societal landscape and his dedication to promoting moral and aesthetic values. This book is recommended to readers interested in exploring the intersections of art, culture, and ethics, as well as to those intrigued by the intellectual discourse of the Victorian era.

The following addresses, though spoken at different times, are intentionally connected in subject; their aim being to set one or two main principles of art in simple light before the general student, and to indicate their practical bearing on modern design. The law which it has been my effort chiefly to illustrate is the dependence of all noble design, in any kind, on the sculpture or painting of Organic Form.This is the vital law; lying at the root of all that I have ever tried to teach respecting architecture or any other art. It is also the law most generally disallowed.

In his seminal work The Stones of Venice, John Ruskin meticulously explores the architectural marvels of the historic city of Venice. Ruskins rich prose and profound insights delve into the intricate details of Venetian architecture, from the Byzantine and Gothic styles to the influence of the Renaissance. His descriptive language transports the reader to the majestic canals and ornate palaces of Venice, capturing the essence of the citys unique beauty and history. This book is a captivating blend of art history, cultural analysis, and personal reflection, making it a must-read for anyone interested in the intersection of art and society in the 19th century. John Ruskin, a prominent art critic and social thinker of the Victorian era, was deeply inspired by the architectural wonders of Venice. His passionate admiration for the city led him to pen The Stones of Venice, a work that not only celebrates its architectural treasures but also serves as a profound meditation on the relationship between art, society, and morality. Ruskins influence on the Arts and Crafts movement and his advocacy for the preservation of historic landmarks further underscore the significance of this book. I highly recommend The Stones of Venice to readers who appreciate art, history, and cultural commentary. Ruskins profound observations and eloquent writing style make this book a timeless masterpiece that continues to resonate with audiences today.

My first duty this evening is to ask your pardon for the ambiguity of title under which the subject of lecture has been announced: for indeed I am not going to talk of kings, known as regnant, nor of treasuries, understood to contain wealth; but of quite another order of royalty, and another material of riches, than those usually acknowledged. I had even intended to ask your attention for a little while on trust, and (as sometimes one contrives, in taking a friend to see a favourite piece of scenery) to hide what I wanted most to show, with such imperfect cunning as I might, until we unexpectedly reached the best point of view by winding paths. But and as also I have heard it said, by men practised in public address, that hearers are never so much fatigued as by the endeavour to follow a speaker who gives them no clue to his purpose,I will take the slight mask off at once, and tell you plainly that I want to speak to you about the treasures hidden in books; and about the way we find them, and the way we lose them. A grave subject, you will say; and a wide one! Yes; so wide that I shall make no effort to touch the compass of it. I will try only to bring before you a few simple thoughts about reading, which press themselves upon me every day more deeply, as I watch the course of the public mind with respect to our daily enlarging means of education; and the answeringly wider spreading on the levels, of the irrigation of literature.

The title of this book,or, more accurately, of its subject;for no author was ever less likely than I have lately become, to hope for perennial pleasure to his readers from what has cost himself the most pains,will be, perhaps, recognised by some as the last clause of the line chosen from Keats by the good folks of Manchester, to be written in letters of gold on the cornice, or Holy rood, of the great Exhibition which inaugurated the career of so many,since organized, by both foreign governments and our own, to encourage the production of works of art, which the producing nations, so far from intending to be their "joy for ever," only hope to sell as soon as possible. Yet the motto was chosen with uncomprehended felicity: for there never was, nor can be, any essential beauty possessed by a work of art, which is not based on the conception of its honoured permanence, and local influence, as a part of appointed and precious furniture, either in the cathedral, the house, or the joyful thoroughfare, of nations which enter their gates with thanksgiving, and their courts with praise.

The following lectures were the most important piece of my literary work done with unabated power, best motive, and happiest concurrence of circumstance. They were written and delivered while my mother yet lived, and had vividest sympathy in all I was attempting;while also my friends put unbroken trust in me, and the course of study I had followed seemed to fit me for the acceptance of noble tasks and graver responsibilities than those only of a curious traveler, or casual teacher.Men of the present world may smile at the sanguine utterances of the first four lectures: but it has not been wholly my own fault that they have remained unfulfilled; nor do I retract one word of hope for the success of other masters, nor a single promise made to the sincerity of the students labor, on the lines here indicated.

The following Lectures are printed, as far as possible, just as they were delivered. Here and there a sentence which seemed obscure has been mended, and the passages which had not been previously written, have been, of course imperfectly, supplied from memory. But I am well assured that nothing of any substantial importance which was said in the lecture-room, is either omitted, or altered in its signification; with the exception only of a few sentences struck out from the notice of the works of Turner, in consequence of the impossibility of engraving the drawings by which they were illustrated, except at a cost which would have too much raised the price of the volume. Some elucidatory remarks have, however, been added at the close of the second and fourth Lectures, which I hope may be of more use than the passages which I was obliged to omit.

The Stones of Venice is a three-volume treatise on Venetian art and architecture by English art historian John Ruskin. Ruskin examines Venetian architecture in detail, describing for example over eighty churches. He discusses architecture of Venices Byzantine, Gothic and Renaissance periods, and provides a general history of the city. As well as being an art historian, Ruskin was a social reformer. He set out to prove how Venetian architecture exemplified the principles he discussed in his earlier works.

John Ruskins Modern Painters is a comprehensive exploration of art and its role in society during the 19th century. Written in a highly descriptive and philosophical style, the book delves into the significance of landscape painting and the principles of artistry. Ruskins detailed analysis of works by artists such as J.M.W. Turner provides valuable insight into the Romantic movement and the changing perceptions of beauty in art. Drawing upon his background in art criticism and his deep admiration for the natural world, Ruskin offers a rich tapestry of ideas that continue to resonate with readers today. His eloquent prose and keen observations make Modern Painters a timeless classic in the realm of art history and criticism. John Ruskins passion for art and nature shines through in Modern Painters, making it a must-read for anyone interested in the intersection of aesthetics and philosophy in the 19th century.

In "The Eagles Nest," John Ruskin presents a meditative exploration of nature, art, and the intertwining of the two. Through a series of essays, Ruskin reflects on the beauty of the environment, particularly the grandeur and majesty of the Alps, while arguing for the moral imperative of art to convey deeper truths. His literary style blends vivid imagery with lyrical prose, situating the work within the broader context of the Romantic movement, which emphasized emotional depth and the sublime experiences of nature. Ruskins analysis is both poetic and philosophical, encouraging readers to perceive art as an extension of natural beauty and vice versa. John Ruskin, a prominent art critic and social thinker of the Victorian era, was deeply influenced by his surroundings and experiences traveling through Europe. His work is rooted in the belief that art should elevate the human spirit and inspire moral responsibility. Ruskins advocacy for the connection between artistry and the natural world reflects his concerns about industrialization and its impact on beauty and ethics, guiding his vision in "The Eagles Nest" toward a hopeful reconciliation of these elements. Readers seeking a profound understanding of the confluence of nature and art will find "The Eagles Nest" both enlightening and inspiring. Ruskins insights serve not only as a critique of contemporary society but also as a timeless call to reconnect with the world around us. This book is essential for anyone intrigued by the philosophical dimensions of art and the natural environment.

One of the most popular works for children of its time, The King of the Golden River is the first literary fairy tale in English (as opposed to collected folk tales); Ruskin himself said it was a fairly good imitation of Grimm and Dickens, mixed with some true Alpine feeling of my own.Later he spoke of the value of the traditional tales, with their power to fortify children against the glacial cold of selfish science; and indeed many have seen it as an introduction to the radical theories of economics and the passion for the environment that were Ruskins lasting legacy.More than that, The King of the Golden River remains a powerful and effective fable about Mans dual capacity for destructiveness and redeeming love, with a hero, villains and as strange a brace of fairy-tale creatures as one could hope to meet.Written in 1841 as a lighthearted present for his young cousin, Effie (who later became his wife, with famously disastrous results) The King of the Golden River was not published until 1851. The great illustrator Richard Doyle contributed over 25 full pages and vignettes in his characteristically romantic but sharp-edged style.A specially commissioned essay by Simon Cooke sets this fascinating work in the context of Ruskin''s writings and Doyle''s career, and discusses its importance in the history of fairy tale writing and of children''s publishing in the nineteenth century.

Throughout history, some books have changed the world.They have transformed the way we see ourselves - and each other.They have inspired debate, dissent, war and revolution.They have enlightened, outraged, provoked and comforted.They have enriched lives - and destroyed them.Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization, and helped make us who we are.

"Nuestro autor escribió este relato para la que habría de ser su joven esposa, Effie Gray, en 1847, y lo publicó por vez primera en 1850, siendo esta su única incursión en la narrativa. Ruskin fue,

Illus.: J. M. W. Turner