CiNii Books - Modern Painters

The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This third volume contains Volume 1 of Modern Painters.

Introduction
Bibliographical note
Author's prefaces
Modern painters, Vol. 1
Appendix.

The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This fourth volume contains volume 2 of Modern Painters.

Introduction to Vol. 4
Bibliographical note
Preface to the re-arranged edition (1883)
Synopsis of contents
Part I. Modern Painters Vol. II (Containing the Text of All the Editions)
Section 1. Of the Theoretic Faculty: 1. Of the rank and relations of the theoretic faculty
2. Of the theoretic faculty as concerned with pleasures of sense
3. Of accuracy and inaccuracy in impressions of sense
4. Of false opinions held concerning beauty
5. Of typical beauty
6. Of unity
7. Of repose
8. Of symmetry
9. Of purity
10. Of moderation
11. General inferences respecting typical beauty
12. Of vital beauty
13. Of generic vital beauty
14. Of vital beauty in man
15. General conclusions respecting the theoretic faculty
Section 2. Of the Imaginative Faculty: Author's introductory note (1883)
1. Of the three forms of imagination
2. Of imagination associative
3. Of imagination penetrative
4. Of imagination contemplative
5. Of the superhuman ideal
Part II: Addenda (1848)
Epilogue (1883)
Appendix.

The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This fifth volume contains Volume 3 of Modern Painters.

Introduction
Bibliographical note
Modern painters, Volume III: Preface
Part IV: 1. Of the received opinions touching the 'grand style'
2. Of realisation
3. Of the real nature of greatness of style
4. Of the false ideal: religious
5. Of the false ideal: profane
6. Of the true ideal: purist
7. Of the true ideal: naturalist
8. Of the true ideal: grotesque
9. Of finish
10. Of the use of pictures
11. Of the novelty of landscape
12. Of the pathetic fallacy
13. Of classical landscape
14. Of mediaeval landscape: the fields
15. Of mediaeval landscape: the rocks
16. Of modern landscape
17. The moral of landscape
18. Of the teachers of Turner
Appendix
Letters.

The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This sixth volume contains Volume 4 of Modern Painters.

Introduction
Bibliographical note
Modern painters, Vol. IV: Preface
Part V. 'Of mountain beauty': 1. Of the Turnerian picturesque
2. Of Turnerian topography
3. Of Turnerian light
4. Of Turnerian mystery: as essential
5. Of Turnerian mystery: wilful
6. The firmament
7. The dry land
8. Of the materials of mountains: compact crystallines
9. Of the materials of mountains: slaty crystallines
10. Of the materials of mountains: slaty coherents
11. Of the materials of mountains: compact coherents
12. Of the sculpture of mountains: the lateral ranges
13. Of the scupture of mountains: the central peaks
14. Resulting forms: aiguilles
15. Resulting forms: crests
16. Resulting forms: precipices
17. Resulting forms: banks
18. Resulting forms: stones
19. The mountain gloom
20. The mountain glory
Appendix.

The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This seventh volume contains Volume 5 of Modern Painters.

Introduction to Vol. 7
Bibliographical note
Part I. Modern Painters Vol. V (Containing the Text of All the Editions)
Section 6. Of Leaf Beauty: 1. The earth-veil
2. The leaf-orders
3. The bud
4. The leaf
5. Leaf aspects
6. The branch
7. The stem
8. The leaf monuments
9. The leaf shadows
10. Leaves motionless
Section 7. Of Cloud Beauty: 1. The cloud-balancings
2. The cloud-flocks
3. The cloud-chariots
4. The angel of the sea
Section 8. Of Ideas of Relation - First, of Invention Formal: 1. The law of help
2. The task of the least
3. The rule of the greatest
4. The law of perfectness
Section 9. Of Ideas of Relation - Second, of Invention Spiritual: 1. The dark mirror
2. The lance of Pallas
3. The wings of the lion
4. Durer and Salvator
5. Claude and Poussin
6. Rubens and Cuyp
7. Of vulgarity
8. Wouvermans and Angelico
9. The two boyhoods
10. The Nereid's guard
11. The Hesperid Aegle
12. Peace
Epilogue (1888)
Part II: Appendix.

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