John Ruskin, página 2 de 9

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 drawings by which the Lectures on Architecture were illustrated have been carefully reduced, and well transferred to wood by Mr. Thurston Thompson. Those which were given in the course of the notices of schools of painting could not be so transferred, having been drawn in color; and I have therefore merely had a few lines, absolutely necessary to make the text intelligible, copied from engravings.I forgot, in preparing the second Lecture for the press, to quote a passage from Lord Lindsays "Christian Art," illustrative of what is said in that lecture ( 52), respecting the energy of the medival republics. This passage, describing the circumstances under which the Campanile of the Duomo of Florence was built, is interesting also as noticing the universality of talent which was required of architects; and which, as I have asserted in the Addenda ( 60), always ought to be required of them. I do not, however, now regret [vi] the omission, as I cannot easily imagine a better preface to an essay on civil architecture than this simple statement.

Uztak hain ziren mardulak haran hartan, eta soroetako belarra hain luzea, eta hain gorriak sagarrak, hain urdina mahatsa, hain ona ardoa, hain gozoa eztia... Altxor Harana esan ohi zioten. Hiru anaia ziren haranaren jabeak: Schwartz, Hans eta Gluck. Schwartz eta Hans, bi zaharrenak, oso gizon itsusiak ziren, bekain tximatsukoak, eta begitxo motelak beti erdi itxita edukitzen zituzten. Tiroz jotzen zituzten zozoak, hil egiten trikuak, kilkerrak pozoitu, txitxarrak ito... Anaia gaztea, Gluck, oso zen bestelakoa. Bizidun guztien aurrean jarrera gozoa erakusten zuen. Ez zen bere anaiekin oso ongi moldatzen, edo hobeto esanda, haiek ez ziren berarekin oso ongi moldatzen. Gluck Urrezko Ibaiaren Erregearekin moldatuko da ongi. Eta Urrezko Ibaiaren Erregea Gluckekin...

In "The Harbours of England," John Ruskin presents a captivating blend of art, architecture, and the natural environment, exploring the rich tapestry of Englands coastal ports. Through meticulous observation and vivid prose, Ruskin captures the aesthetic and historical significance of harbours, reflecting on their roles in trade, culture, and the lives of ordinary people. His literary style is marked by eloquent descriptions and a keen appreciation for detail, characteristic of the Victorian eras heightened awareness of industrializationAos impact on natural landscapes. This work sits within the broader context of Ruskins advocacy for the moral and educational value of art, as he seeks to inspire a deeper connection between humanity and the environment. John Ruskin (1819-1900), a prominent art critic, social thinker, and champion of the Gothic Revival, channels his passion for beauty and ethics into this volume. His early exposure to painting and architecture, coupled with a profound concern for the consequences of industrial progress, shaped his worldview. This drove him to articulate a vision where art and nature coalesce, even amid societal upheavals, leading him to document the harbours that serve as symbols of Englands enduring heritage. "The Harbours of England" is an essential read for anyone interested in the intersection of art, history, and nature. Ruskins insightful observations encourage readers to reflect on the aesthetic value and cultural importance of these maritime spaces. This book invites a rediscovery of Englands coastal legacy, making it a timeless companion for art historians, environmentalists, and lovers of travel alike.

In "The Pleasures of England," John Ruskin embarks on an eloquent exploration of the English landscape, art, and culture, weaving together personal reflections and critical observations. This seminal work, rich in descriptive imagery and imbued with RuskinAos passion for nature and aesthetics, presents a compelling argument for the intrinsic value of EnglandAos beauty in understanding moral and social truths. As a precursor to the social criticism of the Victorian age, Ruskins prose emerges as both poetic and didactic, inviting readers to appreciate the aesthetic dimensions of everyday life while utilizing his distinctive approach characterized by intricate detail and steadfast moral conviction. John Ruskin (1819-1900) was a prominent art critic, social thinker, and advocate for the Gothic Revival movement in architecture who believed that art has the power to shape a societys moral compass. His experiences growing up amidst the picturesque English countryside, combined with his deep engagement in art and architecture, profoundly influenced his thoughts on beauty and its relationship to ethical living. His beliefs about the deteriorating state of society due to industrialization prompted him to write this book to rekindle appreciation for Englands cultural heritage. For readers seeking a profound understanding of the interplay between art, nature, and society, "The Pleasures of England" is an indispensable text. It is not only an exploration of aesthetic pleasures but also a clarion call to recognize the importance of nurturing a collective awareness of beauty to elevate human existence. Whether one is a lover of literature, art, or social philosophy, RuskinAos insights offer timeless reflections that continue to resonate today.

In "Unto This Last, and Other Essays on Political Economy," John Ruskin delivers a profound critique of contemporary economic thought, intertwining ethical considerations with social justice. Through keen, accessible prose, Ruskin challenges the prevailing utilitarianism of his time, advocating for a moral economy rooted in the welfare of the working class. His essays draw upon historical and philosophical contexts, illustrating how industrialization and capitalism distort human values and societal bonds, ultimately calling for a re-examination of wealths true purpose. John Ruskin (1819-1900), a prominent art critic, social thinker, and advocate for the arts, was profoundly influenced by the socio-economic disparities of Victorian England. His engagement with the moral implications of industrialization and his extensive writings on beauty and labor propelled him to explore the intersection of art and economics. "Unto This Last," inspired by Ruskins understanding of moral philosophy, critiques materialism and champions the dignity of labor, reflecting his belief in the interconnectedness of social integrity and economic practice. This book is indispensable for readers seeking to understand the ethical dimensions of economic theory. Ruskins insights remain remarkably relevant today, encouraging a transformative dialogue on capitalism and individual worth. Students of economics, sociology, and philosophy will find his work both challenging and inspiring, providing a necessary lens through which to view modern economic dilemmas.In this enriched edition, we have carefully created added value for your reading experience:- A comprehensive Introduction outlines these selected works unifying features, themes, or stylistic evolutions.- The Author Biography highlights personal milestones and literary influences that shape the entire body of writing.- A Historical Context section situates the works in their broader erasocial currents, cultural trends, and key events that underpin their creation.- A concise Synopsis (Selection) offers an accessible overview of the included texts, helping readers navigate plotlines and main ideas without revealing critical twists.- A unified Analysis examines recurring motifs and stylistic hallmarks across the collection, tying the stories together while spotlighting the different works strengths.- Reflection questions inspire deeper contemplation of the authors overarching message, inviting readers to draw connections among different texts and relate them to modern contexts.- Lastly, our handpicked Memorable Quotes distill pivotal lines and turning points, serving as touchstones for the collections central themes.

In "Giotto and His Works in Padua," John Ruskin embarks on a meticulous exploration of the transformative contributions of the early Renaissance painter Giotto di Bondone, arguing for his seminal role in the transition from medieval art to the blossoming of humanistic expression. Ruskins vivid prose is not merely descriptive; it weaves a rich tapestry of art criticism, informed by his deep appreciation for the aesthetic and moral dimensions of Giottos work. Situated within the broader context of Ruskins extensive writings on art and architecture, this text reflects his belief in the intrinsic connection between art and societal values during the 19th century, urging readers to recognize the emotional and spiritual depths of Giottos frescoes in the Scrovegni Chapel and beyond. John Ruskin (1819-1900), a leading art critic of the Victorian era, was profoundly influenced by his own studies in art, natural science, and literature. His profound admiration for Giotto stemmed from a conviction that the painters embryonic naturalism presented an antidote to the mechanization and moral decay he perceived in contemporary society. This book is both a tribute and a manifesto, advocating for a return to the truth of nature and experience, echoing Ruskins broader philosophical and artistic ideals. "Giotto and His Works in Padua" is not merely an art historical text; it is an impassioned call to appreciate the deeper moral lessons that art can impart. Readers interested in the evolution of Western art, as well as those who appreciate the interplay between aesthetics and ethics, will find this work enlightening. Ruskins eloquence and insight compel us to revisit not just Giottos works but also the foundational values of art itself.In this enriched edition, we have carefully created added value for your reading experience:- A succinct Introduction situates the works timeless appeal and themes.- The Synopsis outlines the central plot, highlighting key developments without spoiling critical twists.- A detailed Historical Context immerses you in the eras events and influences that shaped the writing.- An Author Biography reveals milestones in the authors life, illuminating the personal insights behind the text.- A thorough Analysis dissects symbols, motifs, and character arcs to unearth underlying meanings.- Reflection questions prompt you to engage personally with the works messages, connecting them to modern life.- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

In "Frondes Agrestes: Readings in Modern Painters," John Ruskin provides a profound exploration of art aesthetics through the lens of nature and morality. This collection of lectures and essays critically engages with his earlier work, "Modern Painters," emphasizing the interplay between artistic expression and the sublime beauty of the natural world. RuskinAos literary style is characterized by eloquent prose and rich visual imagery, immersing readers in a poignant critique of industrial societys disconnect from nature. His insightful observations reflect not only his deep appreciation for the artistic movement of his time but also a reaction against the mechanization of art and life, situating the book within the broader context of the Romantic movement that sought to rediscover innate human emotion and connection to the environment. John Ruskin (1819-1900) was a prominent art critic, social thinker, and philanthropist, whose multifaceted career was informed by his academic background in art history and architecture. Having witnessed the industrial revolutions impact on society, Ruskins profound sensitivity to the degradation of both nature and art led him to advocate for a return to craftsmanship and a more ethical engagement with the world. His commentary in "Frondes Agrestes" emerges from a personal and intellectual quest to redefine the purpose of art in an increasingly industrialized age. Highly recommended for students and enthusiasts of art history, "Frondes Agrestes" challenges readers to reconsider the ethics of artistic creation and our relationship with the natural environment. With its profound insights and passionate arguments, this work encourages a deeper appreciation of arts transformative power and its potential for fostering a more harmonious existence with the world around us.

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.

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.

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 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.

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.

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.

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.

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.

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.

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 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.