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Book Title: Lectures on Architecture and Painting (1887)|
The size of the: 410 KB
Edition: General Books
Date of issue: August 18th 2009
ISBN 13: 9780217860062
The author of the book: John Ruskin
Format files: PDF
Read full description of the books:Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: LECTURE III. TURNER, AND HIS WORK?. My olject this evening is not so much to gVe you ai.y account of the works or the genius of the great paintei whom we have so lately lost (which it would require rathet a year than an hour to do), as to give you some idea of the position which his works hold with respect to the landscape of other periods, and of the general condition and prospects of the landscape art of the present day. I will not lose time in prefatory remarks, as I have little enough at any rate, but will enter abruptly on my subject. You are all of you well aware that landscape seems hardly to have exercised any strong influence, as such, on any pagan nation, or pagan artist. I have no time to enter into any details on this, of course, most intricate and difficult subject; but I will only ask you to observe, that wherever natural scenery is alluded to by the ancients, it is either agriculturally, with the kind of feeling that a good Scotch farmer has; sensually, in the enjoyment of sun or shade, cool winds or sweet scents; fearfully, in Imere vulgar dread of rocks and desolale places, as compared with the comfort of cities; or, finally, superstitiously in the personification or deification of natural powers generally with much degradation of their impressiveness, as in the paltry fables of Ulysses receiving the winds in bags from Eolus, and of the Cyclops hammering lightning sharp at the ends, on an anvil. Of course you will here and there find feeble evidences of a higher sensibility, chiefly, I think, in Plato, Eschylus, Aristophanes, and Virgil. Homer, though in the epithets he applies to land scape always thoroughly graphic, uses the same epithet fot rocks, seas, and trees, from one end of his poem to the other, evidently without the smallest interest in anythi...
Read information about the authorJohn Ruskin was born on 8 February 1819 at 54 Hunter Street, London, the only child of Margaret and John James Ruskin. His father, a prosperous, self-made man who was a founding partner of Pedro Domecq sherries, collected art and encouraged his son's literary activities, while his mother, a devout evangelical Protestant, early dedicated her son to the service of God and devoutly wished him to become an Anglican bishop. Ruskin, who received his education at home until the age of twelve, rarely associated with other children and had few toys. During his sixth year he accompanied his parents on the first of many annual tours of the Continent. Encouraged by his father, he published his first poem, "On Skiddaw and Derwent Water," at the age of eleven, and four years later his first prose work, an article on the waters of the Rhine.
In 1836, the year he matriculated as a gentleman-commoner at Christ Church, Oxford, he wrote a pamphlet defending the painter Turner against the periodical critics, but at the artist's request he did not publish it. While at Oxford (where his mother had accompanied him) Ruskin associated largely with a wealthy and often rowdy set but continued to publish poetry and criticism; and in 1839 he won the Oxford Newdigate Prize for poetry. The next year, however, suspected consumption led him to interrupt his studies and travel, and he did not receive his degree until 1842, when he abandoned the idea of entering the ministry. This same year he began the first volume of Modern Painters after reviewers of the annual Royal Academy exhibition had again savagely treated Turner's works, and in 1846, after making his first trip abroad without his parents, he published the second volume, which discussed his theories of beauty and imagination within the context of figural as well as landscape painting.
On 10 April 1848 Ruskin married Euphemia Chalmers Gray, and the next year he published The Seven Lamps of Architecture, after which he and Effie set out for Venice. In 1850 he published The King of the Golden River, which he had written for Effie nine years before, and a volume of poetry, and in the following year, during which Turner died and Ruskin made the acquaintance of the Pre-Raphaelites, the first volume of The Stones of Venice. The final two volumes appeared in 1853, the summer of which saw Millais, Ruskin, and Effie together in Scotland, where the artist painted Ruskin's portrait. The next year his wife left him and had their marriage annulled on grounds of non-consummation, after which she later married Millais. During this difficult year, Ruskin defended the Pre-Raphaelites, became close to Rossetti, and taught at the Working Men's College.
In 1855 Ruskin began Academy Notes, his reviews of the annual exhibition, and the following year, in the course of which he became acquainted with the man who later became his close friend, the American Charles Eliot Norton, he published the third and fourth volumes of Modern Painters and The Harbours of England. He continued his immense productivity during the next four years, producing The Elements of Drawing and The Political Economy of Art in 1857, The Elements of Perspective and The Two Paths in 1859, and the fifth volume of Modern Painters and the periodical version of Unto This Last in 1860. During 1858, in the midst of this productive period, Ruskin decisively abandoned the evangelical Protestantism which had so shaped his ideas and attitudes, and he also met Rose La Touche, a young Irish Protestant girl with whom he was later to fall deeply and tragically in love.
Throughout the 1860s Ruskin continued writing and lecturing on social and political economy, art, and myth, and during this decade he produced the Fraser's Magazine "Essays on Political Economy" (1863); revised as Munera Pulveris, 1872), Sesame and Lilies (1865), The Grown of Wild Olive (1866), The Ethics of the Dust (1866), Time and Tide, and [2/3] The Queen of the Air (1869), his study of Gr
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