By J.L. Bradley
The serious history gathers jointly a wide physique of severe assets on significant figures in literrature. every one quantity offers modern responses to a writer's paintings, permitting scholar and researcher to learn the fabric themselves.
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Extra info for John Ruskin: The Critical Heritage (The Collected Critical Heritage : Victorian Thinkers)
Example text
Parenthetically, it should be noted to Wilenski’s credit that he was early to deal with the symbolic relationship formulated by Ruskin between Rose and Carpaccio’s ‘St Ursula’. However, supplemented by editions of letters and diaries (24) published over the next twenty-five or thirty years Ruskin scholarship leaned heavily on the dramatic disclosures of his private life. One admirable exception, however, is the late Derrick Leon’s ‘Ruskin, the Great Victorian’ (1949). Because of its author’s premature death, the book is marred by typographical and other faults; but it remains to date the most ambitious study of Ruskin, one that assimilates with unique sensitivity all that could be garnered about its subject to date.
11) Ruskin had some ups and downs in the fifties as the PreRaphaelite débâcle suggests, but considerable evidence supports his position as a cultural influence beyond the rarefied intellectual circle of London. The plethora of reviews in journals, from the most dignified quarterlies down to daily newspapers, testify that his audience was a wide one growing wider all the time. 16 Introduction IV THE 1860S ‘Modern Painters V’; ‘Unto this Last’; ‘Essays on Political Economy’; ‘Sesame and Lilies’; ‘The Crown of WildOlive’; ‘The Queen of the Air’; Ruskin in the 1860s, ‘Lectures on Art’ (1870) Since 1854 Ruskin had given his services intermittently at the Working Men’s College, that admirable institution designed to broaden the aesthetic interests and hone the sensibilities of the less privileged rather than to assist them towards greater material ends.
Saintsbury recalls Ruskin’s career in brief chronology and asserts that Ruskin, more than any other individual, was responsible for the national improvement in artistic appreciation, discernment, and judgment. As Saintsbury remarks: whereas from the thirties to the sixties, it was almost impossible to buy anything new that was not complacently hideous, from the sixties to the nineties it has always been possible to buy something that was at least graceful in intention. And, although anathema to him, Saintsbury grants the power of such writings as ‘Unto this Last’ and maintains that after aesthetic Ruskin lost ground social Ruskin regained it.