John Ruskin
John Ruskin
John Ruskinwas the leading English art critic of the Victorian era, also an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and political economy. His writing styles and literary forms were equally varied. Ruskin penned essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. The elaborate style that characterised his earliest writing on art was later superseded...
NationalityEnglish
ProfessionWriter
Date of Birth8 February 1819
art scratches term
Engraving then, is, in brief terms, the Art of Scratch.
men cities steel
The great cry that rises from our manufacturing cities, louder than their furnace blast, is all in very deed for this, that we manufacture everything there except men; we blanch cotton, and strengthen steel, and refine sugar, and shape pottery; but to brighten, to strengthen, to refine, or to form a single living spirit, never enters into our estimate of advantages.
regret long support
So long as we see the stones and joints, and are not deceived as to the points of support in any piece of architecture, we may rather praise than regret the dexterous artifices which compel us to feel as if there were fibre in its shafts and life in its branches.
knowing curiosity dull
Curiosity is a gift, a capacity of pleasure in knowing, which if you destroy, you make yourself cold and dull.
art use inferiority
The entire vitality of art depends upon its being either full of truth, or full of use; and that, however pleasant, wonderful, or impressive it may be in itself, it must yet be of inferior kind, and tend to deeper inferiority, unless it has clearly one of these main objects, either to state a true thing, or to adorn a serviceable one.
ignorance humanity imperfect
Ignorance, which is contented and clumsy, will produce what is imperfect, but not offensive. But ignorance dis contented and dexterous, learning what it cannot understand, and imitating what it cannot enjoy, produces the most loathsome forms of manufacture that can disgrace or mislead humanity.
regret men childhood
What do you suppose makes all men look back to the time of childhood with so much regret (if their childhood has been, in any moderate degree, healthy or peaceful)? That rich charm, which the least possession had for us, was in consequence of the poorness of our treasures.
eye perfect feelings
It is impossible to tell you the perfect sweetness of the lips and closed eyes, nor the solemnity of the seal of death which is set upon the whole figure. It is, in every way, perfect--truth itself, but truth selected with inconceivable refinement of feeling.
men hands tangible
... A power of obtaining veracity in the representation of material and tangible things, which, within certain limits and conditions, is unimpeachable, has now been placed in the hands of all men, almost without labour. (1853)
pain men people
We shall be remembered in history as the most cruel, and therefore the most unwise, generation of men that ever yet troubled the earth: the most cruel in proportion to their sensibility, the most unwise in proportion to their science. No people, understanding pain, ever inflicted so much: no people, understanding facts, ever acted on them so little.
holiday mean men
Other men used their effete faiths and mean faculties with a high moral purpose. The Venetian gave the most earnest faith, and the lordliest faculty, to gild the shadows of an antechamber, or heighten the splendours of a holiday.
eye talking sea
It is only the basest writer who cannot speak of the sea without talking of "raging waves," "remorseless floods," "ravenous billows," etc.; and it is one of the signs of the highest power in a writer to check all such habits of thought, and to keep his eyes fixed firmly on the pure fact , out of which if any feeling comes to him or his reader, he knows it must be a true one.
strong inspiration men
And thus, in full, there are four classes: the men who feel nothing, and therefore see truly; the men who feel strongly, think weakly, and see untruly (second order of poets); the men who feel strongly, think strongly, and see truly (first order of poets); and the men who, strong as human creatures can be, are yet submitted to influences stronger than they, and see in a sort untruly, because what they see is inconceivably above them. This last is the usual condition of prophetic inspiration.
artist ruined residence
English artists are usually entirely ruined by residence in Italy.