Se ci si allontana da questo impetuoso fiume del cattivo gusto, perdendosi nelle calli di Cannaregio o di Dorsoduro, ci si trova di fronte alla città fantasma, che in pochi decenni ha più che dimezzato la sua popolazione e che da anni non esprime più un'iniziativa culturale degna di questo nome, avendo venduto tutta sé stessa nello sforzo inane di diventare l'imitazione più sporca e malconcia della sua imitazione ricostruita a Las Vegas. The exhibitions both an exhortation for the salvation of Venice and a challenge to celebrate John Ruskin as a great and unique painter, apart from his eclecticism and his own determination to favour the written word. Now it is only by labour that thought can be made healthy, and only by thought that labour can be made happy, and the two cannot be separated with impunity. Ruskin notes that during the Gothic era Venice was at the height of its political power was religious in a Protestant manner. That technical knowledge is married to a lyrical writing style that is a joy to read--especially when he's writing about the cultural and historical contexts in which these architectural wonders existed. Ruskin is an eccentric guide, to say the least. New edition, limited to 1,500 copies signed by John Ruskin at the end of the preface.
Ruskin's argument supported the Gothic Revival, which was underway while he was writing in the 19th century. Ruskin in inquisitorial fashion accused the Renaissance architects of being guilty of three of three prides: 1 pride of science 2 pride of state and 3 pride of system. Reading it has whetted my appetite for reading the whole thing, although that probably won't happen for a while. Pages toned and with occasional foxing. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city as well.
According to Ruskin, these things cannot be separated. However, this is certainly not true, he simply withdrew from using art as a means through which to communicate his ideas. London: Smith, Elder and Co. And just as Gibbon had points to make in his multi volume work on Roman history, Ruskin had a point as well. 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.
Volume the First: Covers and end paper gutters reinforced poorly with scotch tape + light foxing. 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 beco John Ruskin was born on 8 February 1819 at 54 Hunter Street, London, the only child of Margaret and John James Ruskin. 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 Nature of Gothic by John Ruskin, printed by Kelmscott Press. The leaflet is available free to those who purchase the exhibition ticket or one of the educational activities accompanying it. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. Among other things, Ruskin argued vehemently in his writings against the use of steel for architectural purposes.
While discussing the Gothic style, Ruskin also argued that the Gothic approach demonstrated a better understanding of the fusion of thought and manual craft. Spine bands and panel edges slightly dust-toned and rubbed as with age. London: Smith, Elder and Co. Half Leather Hardback, Second Edition. While he is credited with spreading the popularity of Venetian architecture to the rest of Europe, he did not simply write The Stones of Venice to serve as an architectural guide to the city.
Perfect for the beginner first wading into the subject matter of architecture and things Gothic, the book is also fine for one concerned with the aesthetics of reading, for the prose of Ruskin's work is without peer, making for a pleasure filled experience that tantalizes the mind as well as the soul. Ruskin's The Stones of Venice, published in three volumes between 1851 and 1853, was on the surface a straightforward overview of the history of architecture in Venice, Italy. He argued that while the Gothic style was not as technically perfect as the Renaissance style, its roughness conveyed emotion and reverence for God. Unfortunately, the Byzantine palace was almost entirely destroyed and built over when the Gothic palace was constructed. During this difficult year, Ruskin defended the Pre-Raphaelites, became close to Rossetti, and taught at the Working Men's College. Sketches of architectural details for The Stones of Venice, John Ruskin, 1851-53 The Morgan Library During his visits he could see the invasive, sometimes destructive, restoration work taking place on many ancient Venetian buildings during that period.
The clean, classical style of Renaissance architecture had dominated the 14th through17th centuries, and the Gothic Revival was a response. The first visit was in the winter of 1849-50. This was not a particularly new idea at the time: Byron and others had touched on it earlier, but Ruskin was certainly the first to argue the point in such detail and with such intensity. I loved this abridged edition and only wished for pictures of the buildings Ruskin described, in addition to his own drawings. Deborah Howard, The Architectural History of Venice New Haven: Yale University Press, 2004 , 98. One can still feel the impact Ruskin's book must have had on art historical thought.
What would be the myth of Venice without Ruskin? Loggia of the Ducal Palace, John Ruskin, 1849-50 The Metropolitan Museum of Art, New York He did not, however, admire the architecture of the entire palace. Intending to prove how the architecture in Venice exemplified the principles he discussed in his earlier work, The Seven Lamps of Architecture, Ruskin examined the city in detail, describing for example over eighty churches. 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. The original edition of this book includes descriptions of eighty churches. Colour plates are fresh and mellow and clear.
Orpington ; London : George Allen, 1897. Ruskin contended that Renaissance architects created for their own glory, while Gothic architects created for the glory of God. On the contrary, Ruskin contended, the Gothic style was deeply tied to a reverence for God and humility at man's place in the world. A first order arch consists of a plain rounded arch, similar to Roman arches from antiquity. However, he did praise this stage for its return to the earlier Byzantine elements of design and color, as seen in late fifteenth century buildings like the Palazzo Manzoni and the Scuola di San Marco. 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. There are innumerable places in the city that he illustrated, especially in The Stones of Venice 1852 , with an inspired and poetic manner in which text and images are integrated into an empathic and engaging vision.
Fade to spine and cloth chipped at head and foot. Ruskin studied the architectural history of the city and divided it into three periods: Byzantine, Gothic, and Renaissance. Doing justice to masterpieces such as Saint Mark's and the Ducal Palace seems out of the reach of ordinary mortals yet Ruskin achieves this feat with grace and beauty. The next year his wife left him and had their marriage annulled on grounds of non-consummation, after which she later married Millais. He does drone on at times, especially in the chapter on St. First - hats off to J G Links for abridging The Stones, Ruskin's original is so monumental it should not only be filed under 'Architecture' but actually count as architecture. It is a detailed description of the architecture of Venice.