John Ruskin
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"The King of the Golden River," which Ruskin wrote in 1841 (it was not published until 1851) for nineteen-year-old Euphenia Chalmers Gray, whom he married in 1848. The story is set in the ancient country of Stiria, in a beautiful and fertile valley called Treasure Valley, owned by brothers Schwartz, Hans and Gluck. When the cruel Hans and Schwartz turn an important stranger away from their home, the valley turns to desert, leaving them penniless and...
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John Ruskin's Sesame and Lilies, first published in 1865, stands as a classic nineteenth-century statement on the natures and duties of men and women. Although widely popular in its time, the work in its entirety has been out of print since the early twentieth century. This volume returns Sesame and Lilies to easy availability and reunites the two halves of the work: Of Kings' Treasuries, in which Ruskin critiques, Victorian manhood, and Of Queens'...
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Classic work by the great Victorian expresses his deepest convictions about the nature and role of architecture and its aesthetics. This authoritative edition includes reproductions of the 14 original plates of Ruskin's superb drawings of architectural details from such structures as the Doge's Palace in Venice to the Cathedral of Rouen.
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Excerpt: "My dear Reader,-Whether this book is to be of use to you or not, depends wholly on your reason for wishing to learn to draw. If you desire only to possess a graceful accomplishment, to be able to converse in a fluent manner about drawing, or to amuse yourself listlessly in listless hours, I cannot help you: but if you wish to learn drawing that you may be able to set down clearly, and usefully, records of such things as cannot be described...
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Originally published in "Cornhill" magazine in 1860, "Unto This Last" is a series of four essays on the politics of economics and capitalism by the prominent English art critic of the Victorian era John Ruskin. While Ruskin was most well-known for his writings on art, he was also an accomplished painter and an influential social philosopher and philanthropist. Considered by Ruskin himself as one of his most important works, the ideas introduced in...
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Subtitled "Being Simple Studies on Christian Art for English Travellers," Ruskin uses this 1877 work to advise pilgrims to Italy on what works of art to see during a limited time. His casual stroll conducts readers through the gates and basilicas of the city to ponder the genius of Giotto, Ghirlandajo, Boticelli, and others.
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"Meinie" is an old English word for "many"-"in the sense of 'a many' persons attending one, as bridesmaids," the author explains in a preface. This 1873 work looks at avian life through the eyes of both a poet and scientist, compiling lectures delivered at Oxford on the robin, the swallow, and the dabchick.
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Going against the grain of capitalism, and advocating an economy founded on the Christian principles of honor, justice, and charity, the author, one of the most influential minds of the Victorian era, offers the essays "The Roots of Honour," "The Veins of Wealth," "Qui Judicatis Terram," and "Ad Valorem."
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In a unique 1869 take on Greek mythology, the influential Victorian-Edwardian sage considers the myth of the goddess Athena. Ruskin asks us to consider Athena-"in the heavens, the earth, and the heart"-as a vital force in the material world channeled by those leading virtuous lives and also as "the directress of the imagination and will."
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This 1866 collection of essays on "Work," "Traffic," and "War," begins with a preface condemning the human depletion of nature for what Ruskin saw as valueless gains. In this way, mining the ground for metals, water, and other resources parallels the work of the three lecture topics-all is done for the money. But what Ruskin wants to know is what the ultimate effect and product of their work is?
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Published in 1859, this volume contains Ruskin's lectures on art and its application to decoration and manufacture, in which he seeks to bridge the gap between aesthetic theory and practical application in daily economic life. He also explores his theory that contented individuals create good art, while corrupt people's art is inherently second-rate.
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In the three volumes of The Stones of Venice (1851-1853) Ruskin championed the Gothic style of architecture. "Written for the Help of the Few Travellers Who Still Care for Her Monuments," this 1877 volume, intended as a sequel, continues the influential critic's love affair with one of the world's most beautiful cities.
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La presente edición recoge los textos que Ruskin dedicó al tema de lo grotesco. Lo grotesco se percibe en el estilo y lenguaje de las obras artísticas, pero no es solo una cuestión de estilo y lenguaje. La profunda novedad de Ruskin surge en el análisis de sus orígenes: lo grotesco es una manifestación de la naturaleza humana y, en cuanto tal, no puede ser despreciado ni relegado, tal como había hecho la literatura artística tradicional.
La...
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In an effort to give his friends and the public what they wanted, Ruskin republished parts of his monumental Modern Painters in this volume: a collection of selections a dear friend decided were most relevant at the time. Here are Ruskin's "Principles of Art," "Power and Office of Imagination," "Education," "Moralities," and musings on different aspects of nature.
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This 1869 anthology of Ruskin's oeuvre really does range as wide as its title suggests. Ruskin's gaze encompasses plants, animals, the sky, rivers, the waves of the sea, the sculptors of ancient Egypt, the Renaissance painters, color and form, Shakespeare, Byron, Laurence Sterne, Sir Walter Scott, utopianism, romance, patriotism, education, and "The Holy Comforter" in poetry and prose.
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Published in 1872, this volume collects ten lectures that Ruskin gave at Oxford University on the subject of the relation of the natural sciences to art-including, "The Function in Art of the Faculty called by the Greeks" "The Relation of Wise Art to Wise Science," and "Introduction to Elementary Exercises in Historic Art: The Heraldic Ordinaries."