Ariadne Florentina

Ariadne Florentina

by John Ruskin
     
 

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Ariadne Florentina has Six Lectures on Wood and Metal Engraving by John Ruskin. He was 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 ranging from geology to architecture, myth to ornithology, literature to education, and botany to political… See more details below

Overview

Ariadne Florentina has Six Lectures on Wood and Metal Engraving by John Ruskin. He was 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 ranging from geology to architecture, myth to ornithology, literature to education, and botany to 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 The elaborate style that characterised his earliest writing on art was later superseded by a preference for plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation.

Product Details

ISBN-13:
9781300008781
Publisher:
Lulu.com
Publication date:
06/14/2012
Sold by:
LULU PRESS
Format:
NOOK Book
File size:
2 MB

Read an Excerpt


LECTURE Y. DESIGN IN THE GERMAN SCHOOLS OF ENGRAVING. 141. By reference to the close of the preface to' Eagle's Nest,' you will see, gentlemen, that I meant these lectures, from the first, rather to lead you to the study of the characters of two great men, than to interest you in the processes of a secondary form of art. As I draw my materials into the limited form necessary for the hour, I find my divided purpose doubly failing; and would fain rather use my time to-day in supplying the defects of my last lecture, than in opening the greater subject, which I must treat with still more lamentable inadequacy. Nevertheless, you must not think it is for want of time that I omit reference to other celebrated engravers, and insist on the special power of these two only. Many not inconsiderable reputations are founded merely on the curiosity of collectors of prints, or on partial skill in the management of processes ; others, though resting on more secure bases, are still of no importance to you in the general history of art; whereas you will find the work of Holbein and Botticelli determining for you, without need of any farther range, the principal questions of moment in the relation of the Northern and Southern schools of design. Nay, a widermethod of inquiry would only render your comparison less accurate in result. It is only in Holbein's majestic range of capacity, and only in the particular phase of Teutonic life which his art adorned, that the problem can be dealt with on fair terms. We Northerns can advance no fairly comparable antagonist to the artists of the South, except at that one moment, and in that one man. Kubens cannot for an instant be matched with Tintoret, nor Memlingwith Lippi; while Eeynolds only rivals Titian in what he learned from him. But in Holbein and ...

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