John Ruskin

William Turner (1775-1851) y el sentimiento moderno de la pinturaEl principal teórico del arte que ha dado Inglaterra en el siglo XIX, John Ruskin (1819-1900), analiza la obra del pintor inglés más relevante de su epoca y uno de los paisajistas mas importantes de la historia del Arte.

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

John Ruskins Saint Ursula is a poetic and deeply philosophical work that delves into the themes of faith, martyrdom, and the power of belief. Set in a historical context, the book follows the story of Saint Ursula, a legendary Romano-British Christian saint who, along with her companions, faces persecution and martyrdom. Ruskins writing style is rich in imagery and symbolism, drawing upon Christian allegory and medieval literature to create a powerful narrative that resonates with readers. The books exploration of spiritual devotion and the complexities of human nature make it a compelling read for those interested in religious literature and historical fiction. John Ruskin, a prominent Victorian writer, art critic, and social thinker, was known for his deep Christian beliefs and his critical engagement with the social issues of his time. Saint Ursula reflects Ruskins spiritual convictions and his fascination with the power of faith in the face of adversity. I highly recommend Saint Ursula to readers who appreciate thought-provoking literature that explores the intersection of faith, history, and human experience.

In "Loves Meinie: Three Lectures on Greek and English Birds," John Ruskin artfully intertwines natural history, art, and poetry, exploring the intrinsic value of birds in both the Greek and English literary canons. The text melds an engaging lecture style with lyrical prose, reflecting Ruskins profound appreciation for natures beauty and its moral significance. By observing avian life, Ruskin comments on broader themes such as innocence, suffering, and the interconnectedness of life, drawing upon classical references to highlight the aesthetic and spiritual dimensions of the natural world. John Ruskin, a prominent Victorian critic and social thinker, is renowned for his contributions to art criticism and his fervent advocacy for social reform. His early exposure to the natural world, coupled with a deep-rooted belief in the moral lessons that nature imparts, undoubtedly influenced his focus on birds as symbols of divine creativity and inspiration. His interdisciplinary approach combines art, literature, and ethics, making him a pathfinder in the genre of naturalistic observation. This book is a must-read for those interested in the intersection of literature and nature, as well as for admirers of Ruskins aesthetically rich prose. It will resonate with anyone who seeks a deeper understanding of the natural world, while also appreciating the timeless wisdom and beauty embedded in the observations of one of the most influential thinkers of the 19th century.

In "Ariadne Florentina: Six Lectures on Wood and Metal Engraving," John Ruskin explores the intricate relationship between art and craftsmanship, weaving a tapestry of aesthetic theory and practical advice. Through six detailed lectures, Ruskin elucidates the technical processes of engraving, while simultaneously offering profound insights into the moral and philosophical implications of art. His eloquent prose is characterized by vivid imagery and an impassioned rhetoric, reflecting the Victorian eras burgeoning interest in the interconnectedness of beauty, technique, and industry, making this work both relevant to artisans and art enthusiasts alike. John Ruskin was a prominent art critic, social thinker, and landscape painter known for his advocacy of the arts and crafts movement. His deep appreciation for the natural world and opposition to the mechanization of artistic production were pivotal in shaping his thought. Ruskins encounters with craftsmanship during his formative years influenced his belief that the quality of art is inextricably linked to its creation methods, as evident in the lectures presented in "Ariadne Florentina." This book is an indispensable resource for anyone interested in the intersection of art and ethics, providing a detailed exploration of craftsmanships role in the creative process. Whether you are an artist, historian, or simply a lover of art, Ruskins timeless insights will enrich your understanding of both the technical and philosophical dimensions of engraving.

La rivisitazione della grande civiltà veneziana, del suo splendore artistico e cittadino compiuta da uno dei più grandi critici d'arte del secondo Ottocento. Un libro che è insieme saggio, racconto, romanzo e pamphlet appassionato: contro la decadenza culturale, civile, artistica della modernità, nel vagheggiamento di un sogno di perfezione perduto.

Para Ruskin la arquitectura no es sólo técnica de construcción, también es arte. Es el arte que dispone y adorna a los edificios levantados por el ser humano para el uso que sea, de modo que la visión de ellos contribuya a su salud mental, poder y placer. Ruskin denomina "lamparas de la arquitectura" a las leyes que todo artista al momento de crear debe obeceder, y enumera siete: Sacrificio, Verdad, Poder, Belleza, Vida, Memoria y Obediencia. Las siete lamparas de la arquitectura dedica un capitulo a cada lampara, conteniendo abundantes principios tecnicos y agudas observaciones sobre arte clasico y medieval, los ejemplos son tomados fundamentalmente de obras maestras de la arquitectura francesa e italiana.

Éste no es un libro de arquitectura. Es cierto que en sus páginas el lector encontrara profusión de enseñanzas sobre el arte de crear edificios, porque el texto nació como un ensayo sobre conceptos arquitectonicos. Pero en la obra maestra de Ruskin hay mucho mas. Para el gran esteta ingles, en la arquitectura estaba el principio de las artes, que el resto de bellas artes, como la pintura o la escultura, debian seguir en modo y metodo. Por eso, al sentar las bases de una nueva forma de entender la arquitectura. Ruskin abrio el camino a una nueva manera de hacer arte.

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.

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.

The greater part of the following treatise remains in the exact form in which it was read at Manchester; but the more familiar passages of it, which were trusted to extempore delivery, have been since written with greater explicitness and fullness than I could give them in speaking; and a considerable number of notes are added, to explain the points which could not be sufficiently considered in the time I had at my disposal in the lecture-room.Some apology may be thought due to the reader, for an endeavour to engage his attention on a subject of which no profound study seems compatible with the work in which I am usually employed. But profound study is not, in this case, necessary either to writer or reader, while accurate study, up to a certain point, is necessary for us all. Political economy means, in plain English, nothing more than "citizens economy"; and its first principles ought, therefore, to be understood by all who mean to take the responsibility of citizens, as those of household economy by all who take the responsibility of householders.

The work now laid before the public originated in indignation at the shallow and false criticism of the periodicals of the day on the works of the great living artist to whom it principally refers. It was intended to be a short pamphlet, reprobating the matter and style of those critiques, and pointing out their perilous tendency, as guides of public feeling. But, as point after point presented itself for demonstration, I found myself compelled to amplify what was at first a letter to the Editor of a Review, into something very like a treatise on art, to which I was obliged to give the more consistency and completeness, because it advocated opinions which, to the ordinary connoisseur, will sound heretical. I now scarcely know whether I should announce it is an Essay on Landscape Painting, and apologize for its frequent reference to the works of a particular master; or, announcing it as a critique on particular works, apologize for its lengthy discussion of general principles.

Since the first dominion of men was asserted over the ocean, three thrones, of mark beyond all others, have been set upon its sands: the thrones of Tyre, Venice, and England. Of the First of these great powers only the memory remains; of the Second, the ruin; the Third, which inherits their greatness, if it forget their example, may be led through prouder eminence to less pitied destruction.The exaltation, the sin, and the punishment of Tyre have been recorded for us, in perhaps the most touching words ever uttered by the Prophets of Israel against the cities of the stranger. But we read them as a lovely song; and close our ears to the sternness of their warning: for the very depth of the Fall of Tyre has blinded us to its reality, and we forget, as we watch the bleaching of the rocks between the sunshine and the sea, that they were once as in Eden, the garden of God.Her successor, like her in perfection of beauty, though less in endurance of dominion, is still left for our beholding in the final period of her decline: a ghost upon the sands of the sea, so weakso quiet,so bereft of all but her loveliness, that we might well doubt, as we watched her faint reflection in the mirage of the lagoon, which was the City, and which the Shadow.I would endeavor to trace the lines of this image before it be for ever lost, and to record, as far as I may, the warning which seems to me to be uttered by every one of the fast-gaining waves, that beat, like passing bells, against the Stones of Venice.

Of all the buildings in Venice, later in date than the final additions to the Ducal Palace, the noblest is, beyond all question, that which, having been condemned by its proprietor, not many years ago, to be pulled down and sold for the value of its materials, was rescued by the Austrian government, and appropriatedthe government officers having no other use for itto the business of the Post-Office; though still known to the gondolier by its ancient name, the Casa Grimani. It is composed of three stories of the Corinthian order, at once simple, delicate, and sublime; but on so colossal a scale, that the three-storied palaces on its right and left only reach to the cornice which marks the level of its first floor. Yet it is not at first perceived to be so vast; and it is only when some expedient is employed to hide it from the eye, that by the sudden dwarfing of the whole reach of the Grand Canal, which it commands, we become aware that it is to the majesty of the Casa Grimani that the Rialto itself, and the whole group of neighboring buildings, owe the greater part of their impressiveness.

The decay of the city of Venice is, in many respects, like that of an outwearied and aged human frame; the cause of its decrepitude is indeed at the heart, but the outward appearances of it are first at the extremities. In the centre of the city there are still places where some evidence of vitality remains, and where, with kind closing of the eyes to signs, too manifest even there, of distress and declining fortune, the stranger may succeed in imagining, for a little while, what must have been the aspect of Venice in her prime. But this lingering pulsation has not force enough any more to penetrate into the suburbs and outskirts of the city; the frost of death has there seized upon it irrevocably, and the grasp of mortal disease is marked daily by the increasing breadth of its belt of ruin.

Modern Painters is a five-volume work by the eminent Victorian art critic, John Ruskin. The work placed emphasis on symbolism in art, expressed through nature and it was influential on the early development of the Pre-Raphaelite Brotherhood. Ruskin wrote Modern Paintings for 17 years updating it and adding later volumes in subsequent years. The book was primarily written as a defense of the later work of J. M. W. Turner. Ruskin argues that recent painters emerging from the tradition of the picturesque are superior in the art of landscape to the old masters. He used the book to argue that art should devote itself to the accurate documentation of nature. In Ruskins view, Turner had developed from early detailed documentation of nature to a later more profound insight into natural forces and atmospheric effects.

Some years ago, in conversation with an artist whose works, perhaps, alone, in the present day, unite perfection of drawing with resplendence of color, the writer made some inquiry respecting the general means by which this latter quality was most easily to be attained. The reply was as concise as it was comprehensive"Know what you have to do, and do it"comprehensive, not only as regarded the branch of art to which it temporarily applied, but as expressing the great principle of success in every direction of human effort; for I believe that failure is less frequently attributable to either insufficiency of means or impatience of labor, than to a confused understanding of the thing actually to be done; and therefore, while it is properly a subject of ridicule, and sometimes of blame, that men propose to themselves a perfection of any kind, which reason, temperately consulted, might have shown to be impossible with the means at their command, it is a more dangerous error to permit the consideration of means to interfere with our conception, or, as is not impossible, even hinder our acknowledgment of goodness and perfection in themselves.

If there is one artist, more than another, whose work it is desirable that you should examine in Florence, supposing that you care for old art at all, it is Giotto. You can, indeed, also see work of his at Assisi; but it is not likely you will stop there, to any purpose. At Padua there is much; but only of one period. At Florence, which is his birthplace, you can see pictures by him of every date, and every kind. But you had surely better see, first, what is of his best time and of the best kind. He painted very small pictures and very largepainted from the age of twelve to sixtypainted some subjects carelessly which he had little interest insome carefully with all his heart. You would surely like, and it would certainly be wise, to see him first in his strong and earnest work,to see a painting by him, if possible, of large size, and wrought with his full strength, and of a subject pleasing to him. And if it were, also, a subject interesting to yourself,better still.Now, if indeed you are interested in old art, you cannot but know the power of the thirteenth century. You know that the character of it was concentrated in, and to the full expressed by, its best king, St. Louis. You know St. Louis was a Franciscan, and that the Franciscans, for whom Giotto was continually painting under Dantes advice, were prouder of him than of any other of their royal brethren or sisters. If Giotto ever would imagine anybody with care and delight, it would be St. Louis, if it chanced that anywhere he had St. Louis to paint.

The Science of Architecture, followed out to its full extent, is one of the noblest of those which have reference only to the creations of human minds. It is not merely a science of the rule and compass, it does not consist only in the observation of just rule, or of fair proportion: it is, or ought to be, a science of feeling more than of rule, a ministry to the mind, more than to the eye. If we consider how much less the beauty and majesty of a building depend upon its pleasing certain prejudices of the eye, than upon its rousing certain trains of meditation in the mind, it will show in a moment how many intricate questions of feeling are involved in the raising of an edifice; it will convince us of the truth of a proposition, which might at first have appeared startling, that no man can be an architect, who is not a metaphysician.