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 The elaborate style that characterised his earliest writing on art was later superseded...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
To yield reverence to another, to hold ourselves and our lives at his disposal, is not slavery; often, it is the noblest state in which a man can live in this world.
As unity demanded for its expression what at first might have seemed its opposite--variety; so repose demands for its expression the implied capability of its opposite--energy. It is the most unfailing test of beauty; nothing can be ignoble that possesses it, nothing right that has it not.
We must note carefully what distinction there is between a healthy and a diseased love of change; for as it was in healthy love of change that the Gothic architecture rose, it was partly in consequence of diseased love of change that it was destroyed.
The art of nations is to be accumulative, just as science and history are; the work of living men not superseding, but building itself upon the work of the past.
To cultivate sympathy you must be among living creatures, and thinking about them; and to cultivate admiration, you must be among beautiful things and looking at them.
All really great pictures exhibit the general habits of nature, manifested in some peculiar, rare, and beautiful way.
The repose necessary to all beauty is repose, not of inanition, nor of luxury, nor of irresolution, but the repose of magnificent energy and being; in action, the calmness of trust and determination; in rest, the consciousness of duty accomplished and of victory won; and this repose and this felicity can take place as well in the midst of trial and tempest, as beside the waters of comfort.
I would have, then, our ordinary dwelling-houses built to last, and built to be lovely; as rich and full of pleasantness as may be within and without: . . . with such differences as might suit and express each man's character and occupation, and partly his history.
All men who have sense and feeling are being continually helped; they are taught by every person they meet, and enriched by everything that falls in their way. The greatest, is he who has been oftenest aided. Originality is the observing eye.
It was stated, . . . that the value of architecture depended on two distinct characters:--the one, the impression it receives from human power; the other, the image it bears of the natural creation.
All the best things and treasures of this world are not to be produced by each generation for itself; but we are all intended, not to carve our work in snow that will melt, but each and all of us to be continually rolling a great white gathering snow-ball, higher and higher, larger and larger, along the Alps of human power.
There is no solemnity so deep, to a right-thinking creature, as that of dawn.
Make yourselves nests of pleasant thoughts. None of us knows what fairy palaces we may build of beautiful thought-proof against all adversity. Bright fancies, satisfied memories, noble histories, faithful sayings, treasure houses of precious and restful thoughts, which care cannot disturb, nor pain make gloomy, nor poverty take away from us.
Never has interest in art been so high, and never has quality been so low.