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 The elaborate style that characterised his earliest writing on art was later superseded...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
The beauty of the animal form is in exact proportion to the amount of moral and intellectual virtue expressed by it.
Nothing can be beautiful which is not true.
Beauty deprived of its proper foils and adjuncts ceases to be enjoyed as beauty, just as light deprived of all shadows ceases to be enjoyed as light.
There is a certain period of the soul-culture when it begins to interfere with some of characters of typical beauty belonging to the bodily frame, the stirring of the intellect wearing down the flesh, and the moral enthusiasm burning its way out to heaven, through the emaciation of the earthen vessel; and there is, in this indication of subduing the mortal by the immortal part, an ideal glory of perhaps a purer and higher range than that of the more perfect material form. We conceive, I think, more nobly of the weak presence of Paul than of, the fair and ruddy countenance of David.
The noble grotesque involves the true appreciation of beauty.
Like other beautiful things in this world, its end (that of a shaft) is to be beautiful; and, in proportion to its beauty, it receives permission to be otherwise useless. We do not blame emeralds and rubies because we cannot make them into heads of hammers.
In all things that live there are certain irregularities, and deficiencies which are not only signs of life, but sources of beauty. No human face is exactly the same in its lines on each side, no leaf perfect in its lobes, no branch in its symmetry.
Contrast increases the splendor of beauty, but it disturbs its influence; it adds to its attractiveness, but diminishes its power.
That which is required in order to the attainment of accurate conclusions respecting the essence of the Beautiful is nothing morethan earnest, loving, and unselfish attention to our impressions of it.
Endurance is nobler than strength, and patience than beauty.
Remember that the most beautiful things in the world are the most useless; peacocks and lilies for instance.
The purest and most thoughtful minds are those which love color the most.
The secret of language is the secret of sympathy and its full charm is possible only to the gentle.
Reverence is the chief joy and power of life - reverence for that which is pure and bright in youth; for what is true and tried in age; for all that is gracious among the living, great among the dead, - and marvelous in the powers that cannot die