John Ruskin, página 3 de 9

The following lectures were really given, in substance, at a girls school (far in the country); which, in the course of various experiments on the possibility of introducing some better practice of drawing into the modern scheme of female education, I visited frequently enough to enable the children to regard me as a friend. The Lectures always fell more or less into the form of fragmentary answers to questions; and they are allowed to retain that form, as, on the whole, likely to be more interesting than the symmetries of a continuous treatise. Many children (for the school was large) took part, at different times, in the conversations; but I have endeavored, without confusedly multiplying the number of imaginary speakers, to represent, as far as I could, the general tone of comment and inquiry among young people.

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.

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 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 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.

In "The King of the Golden River; or, the Black Brothers: A Legend of Stiria," John Ruskin weaves a captivating fairy tale steeped in moral allegory and rich symbolism. Written in a lyrical and ornate style, this novella presents the struggle between good and evil through the fateful encounters of three brothers over a hidden treasure. Set against an ethereal backdrop inspired by the Alpine region of Styria, Ruskins narrative not only entertains but also serves as a critique of moral greed and the corrupting influence of wealth, embodying the Victorian ethos of social responsibility and the reverence for nature. John Ruskin (1819-1900) was a prominent thinker, art critic, and social theorist whose passionate advocacy for beauty and moral integrity greatly influenced the cultural landscape of 19th-century England. His deep appreciation for the natural world and medieval craftsmanship profoundly informed his writing, leading him to create works that bridge art, morality, and philosophy. Inspired by his travels and his belief in the interconnectedness of humanity and nature, Ruskin crafted this tale to illuminate the consequences of avarice and the virtues of selflessness, which resonate with his broader socio-economic ideals. I highly recommend "The King of the Golden River" for readers seeking a richly allegorical narrative that transcends mere fairy tale conventions. The story offers profound reflections on virtue, love, and the balance between humanity and nature. In this timeless legend, one discovers not only a captivating story but also a moral compass that continues to guide the discussions of ethics and responsibility in modern society.

John Ruskins "Sesame and Lilies" is a profound exploration of the dual themes of education and gender, weaving together a rich tapestry of Victorian thought and moral philosophy. Through eloquent prose and vivid metaphors, Ruskin presents the argument that a true education extends beyond mere academics, advocating for moral and aesthetic development. The work is divided into two essays: Sesame, which emphasizes the importance of women in society and the cultivation of domestic virtues, and Lilies, a poignant discussion on the nature of true education, urging readers to consider the broader implications of knowledge and its application in daily life. Ruskins literary style is characterized by his eloquent rhetoric, infused with passion and sociocultural critique, situating the work within the broader currents of 19th-century discourse on progress and social responsibility. As a prominent art critic, social thinker, and advocate for the Gothic revival, John Ruskin was deeply influenced by the socio-economic challenges of his time, including the impacts of industrialization. His extensive works on architecture, art, and morality reflect his commitment to improving society and advocating for beauty and truth. "Sesame and Lilies" is perhaps a culmination of Ruskins desire to instill a sense of virtue and aesthetic appreciation, fostering a rise in conscience among his contemporaries. This timeless classic is essential reading for anyone interested in the intersections of art, society, and education. Ruskins insights into the moral duties of both men and women resonate powerfully even today, inviting readers to reflect on contemporary educational practices and the role of gender in societal progress. For scholars and general readers alike, "Sesame and Lilies" offers a rich examination of how personal morality and societal structures interconnect, making it a significant contribution to the canon of Victorian literature.

In "Hortus Inclusus," John Ruskin blends poetic prose with artful observation, constructing a vivid tapestry that reflects his deep affinity for nature and the human spirit. This work serves as a contemplative exploration of a garden, symbolizing both a physical space and a metaphor for inner life. Influenced by Romantic ideals, Ruskins lyrical style invites readers into a world rich with sensory detail and philosophical musings, punctuated by his keen aesthetic sensibilities. The books narrative unfolds in a manner that intertwines art, morality, and personal reflection, creating a resonant dialogue between the natural environment and cultural commentary. John Ruskin (1819-1900), a prominent Victorian art critic, social thinker, and philanthropist, was deeply influenced by his experiences in the beautiful landscapes of England, as well as his studies of art and architecture. His dedication to social reform and appreciation of beauty is evident throughout his lifes work, providing a profound context for "Hortus Inclusus." Ruskins belief in the moral imperative of beauty is intricately woven into the fabric of this book, revealing his personal struggles, philosophical inquiries, and vision of a reconciled relationship between man and nature. This exquisite work is highly recommended for those intrigued by the intersections of art, nature, and philosophy. Ruskins explorations will resonate with readers seeking deeper insights into the human experience and the ethereal beauty surrounding us. It is a timeless invitation to connect with the natural world and reflect upon the values that shape our existence.

In "Loves Meinie: Three Lectures on Greek and English Birds," John Ruskin employs a unique combination of lyrical prose and meticulous observation to explore the intricate relationships between avian life, nature, and art. Through his three lectures, Ruskin delves into the symbolism and aesthetics of birds in both Greek and English literature, revealing how these creatures embody complexity that reflects broader human experiences and emotions. His work is characterized by its rich imagery, passionate rhetoric, and an underlying moral philosophy, engaging with the cultural significance of ornithology within Victorian society while critiquing the industrialized disconnection from nature. John Ruskin (1819-1900) was a leading art critic, social thinker, and advocate for environmental stewardship in the 19th century. His early fascination with nature blossomed into an impassioned belief in its relevance to art and ethics, which is evident in this work. Ruskins experiences as a traveler and his extensive knowledge of art history underpinned his desire to cultivate a deeper appreciation for the natural world, especially through the lens of literature and its representation of flora and fauna. "Loves Meinie" is a compelling read for those interested in the intersection of art, literature, and nature. Ruskins eloquent prose invites readers to reflect on the beauty and significance of birds as symbols of artistic inspiration and spiritual truth. This text is essential for scholars, nature lovers, and anyone seeking to rekindle their connection with the avian world.

In "Ariadne Florentina: Six Lectures on Wood and Metal Engraving," John Ruskin offers an intricate exploration of the craftsmanship and artistry inherent in the disciplines of wood and metal engraving. Combining theoretical insights with practical observations, Ruskin employs a richly descriptive literary style that reflects his deep reverence for beauty and moral purpose in art. The lectures serve not only as a technical guide but also as a philosophical treatise that situates engraving within the broader context of societal values and the preservation of artistic integrity during the Victorian era. John Ruskin (1819-1900), a towering figure of the Romantic movement, was both an art critic and social thinker, whose extensive writings sought to reconcile art with moral responsibility. His background in art history and his close ties to the Pre-Raphaelite Brotherhood inspired a lifetime dedication to advocating for artistic quality and the roles of the artisan. Through his lived experiences and scholarly pursuits, Ruskin presents engravings as not merely technical reproductions but as manifestations of human creativity and integrity. "Ariadne Florentina" is highly recommended for artists, historians, and anyone interested in the deeper implications of craftsmanship. Ruskins reflections foster a renewed appreciation for the artistic process and its impact on society, making this work an essential read for those who wish to understand the enduring relationship between art, technology, and moral philosophy.

"La lectura de estas páginas nos pone en contacto con la sacralidad del arte. Ante las piedras de Venecia, enfrentado a semejante exuberancia de belleza, Ruskin fue capaz de superar el síndrome de Stendhal para destilar, a partir de ese desmesurado goce artistico, una de las mejores obras de estetica que se hayan escrito.El resultado de su detenido examen y reflexion sobre las expresiones de arte que calan hasta la medula esta joya de ciudad, tanto por la belleza de sus edificios como por la de las obras que contienen, resulto enormemente inspirador para artistas de todo el mundo y de distintas disciplinas, como William Morris, quien situo esta obra seminal en el mismo origen de la revalorizacion del arte gotico que tanto caracterizaria a las corrientes esteticas modernistas de finales de siglo, con el prerrafaelismo a la cabeza, o como Marcel Proust, quien tras la lectura, y traduccion, de la obra de Ruskin cambio su residencia fue a vivir una temporada a Venecia, junto a su madre y la orientacion de su vida y carrera literaria."

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.

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.

In "Letters to the Clergy on the Lords Prayer and the Church," John Ruskin articulates a profound exploration of spiritual principles, synthesizing theological contemplation with practical guidance for the clergy of his time. Written during the Victorian era, this text adopts a compelling epistolary format, characterized by Ruskins eloquent prose and vivid imagery. He addresses the significance of the Lords Prayer, proposing it as a foundation for both personal faith and ecclesiastical practice. This work not only reflects the socio-religious dynamics of 19th-century England but also serves as a critique of institutional religion, urging a return to genuine spiritual engagement and moral integrity. John Ruskin (1819-1900), renowned as an art critic and social thinker, integrated his diverse interests in art, architecture, and ethics into his writings. His experiences with the socio-economic challenges of the Industrial Revolution ignited a desire to reform both society and the church. The synthesis of Ruskins artistic sensibilities and his philosophical inquiries reveals a deep commitment to fostering a more authentic and compassionate Christian community. This book is an invaluable resource for readers interested in the intersection of faith and social responsibility. It invites contemporary clergy and lay readers alike to reflect on their spiritual lives, drawing inspiration from Ruskins passionate advocacy for a deeper understanding of the Christian faith and its implications for both individual and communal life.

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.