Modern painters

John Ruskin

Bryan, Taylor, 1894

معاينة هذا الكتاب »

الصفحات المحددة

صفحة العنوان

جدول المحتويات

المحتوى

Continued	25

PAGE	29

OF THE CENTRAL MOUNTAINS	31

Effects of snow how imperfectly studied	44

The use of considering geological truths	66

And of Claude	82

Turners drawing of detached blocks of weathered stone	88

Effect of ripple on distant water	104

Its universal value as a test of art	299

Instances in the Laocoon and Theseus	300

And in altar tombs	302

OF SYMMETRY OR THE TYPE OF DIVINE JUSTICE 1 Symmetry what and how found in organic nature	304

To what its agreeableness is referable Various in stances	305

4 Especially in religious art	306

OF PURITY OR THE TYPE OF DIVINE ENERGY 1 The influence of light as a sacred symbol	307

Originally derived from conditions of matter	308

Effect of rippled water on horizontal and inclined images	106

Deflection of images on agitated water	107

Various licenses or errors in waterpainting of Claude Cuyp Vandevelde	109

And Canaletto	111

Why unpardonable	113

The Dutch painters of sea	114

Ruysdael Claude and Salvator	116

22 Nicholas Poussin	117

Venetians and Florentines Conclusion	118

Of Water as PAINTED BY THE MODERNS 1 General power of the moderns in painting quiet water The lakes of Fielding	120

The calm rivers of De Wint J Holland etc	121

As given by Nesfield	122

His color and painting of sea	123

Its high aim at character	124

But deficiency in the requisite quality of grays	125

Works of Stanfield His perfect knowledge and power	126

But want of feeling General sum of truth presented by modern art	127

Of Water as PAINTED BY TURNER 1 The difficulty of giving surface to smooth water	128

Morbid clearness occasioned in painting of water by dis tinctness of reflections	129

How avoided by Turner	130

All reflections on distant water are distinct	131

The error of Vandevelde	132

Difference in arrangement of parts between the reflected object and its image	133

The boldness and judgment shown in the observance of it	134

The texture of surface in Turners painting of calm water	135

Its united qualities	136

Relation of various circumstances of past agitation etc by the most trifling incidents as in the Cowes	137

In scenes on the Loire and Seine	138

14 Expression of contrary waves caused by recoil from shore	139

Various other instances	140

His drawing of distant rivers	142

His drawing of falling water with peculiar expression of weight	143

The abandonment and plunge of great cataracts How given by him	144

Difference in the action of water when continuous and when interrupted The interrupted stream fills the hollows of its bed	145

But the continuous stream takes the shape of its bed	146

Turners careful choice of the historical truth	147

His exquisite drawing of the continuous torrent in the Llanthony Abbey	148

Various cases	149

Seapainting Impossibility of truly representing foam	150

Character of shorebreakers also inexpressible	151

Their effect how injured when seen from the shore	152

Turners expression of heavy rolling sea	153

With peculiar expression of weight	154

Peculiar action of recoiling waves	155

General character of sea on a rocky coast given by Tur ner in the Lands End	156

Open seas of Turners earlier times	157

38 Effect of sea after prolonged storm	159

39 Turners noblest work the painting of the deep open sea in the Slave Ship	161

Its united excellences and perfection as a whole	162

SECTION VI	163

Laws common to all forest trees Their branches do not taper but only divide	164

4 And care of nature to conceal the parallelism	165

The trees of Gaspar Poussin	166

The truth as it is given by J D Harding	167

Boughs in consequence of this law must diminish where they divide Those of the old masters often do not	168

Boughs must multiply as they diminish Those of the old masters do not	169

Boughdrawing of Salvator	170

All these errors especially shown in Claudes sketches and concentrated in a work of G Poussins	172

14 Boughdrawing of Titian	173

15 Boughdrawing of Turner	175

Leafage Its variety and symmetry	176

17 Perfect regularity of Poussin	177

19 How contradicted by the treepatterns of G Poussin	178

20 How followed by Creswick	179

21 Perfect unity in natures foliage	180

GENERAL REMARKS RESPECTING THE TRUTH	193

CONCLUSION MODERN ART AND MODERN	199

The feelings of different artists are incapable of full com parison	200

Especially because they are equally manifested in the treatment of all subjects	201

General conclusions to be derived from our past inves tigation	202

Truth a standard of all excellence	203

Yet associated with a certain degree of judgment	204

General incapability of modern critics	205

14 How the press may really advance the cause of art	206

By which the public defraud themselves	207

18 Necessity of finishing works of art perfectly	208

Sketches not sufficiently encouraged	209

The duty and after privileges of all students	210

23 What should be their general aim	212

Duty of the press with respect to the works of Turner	214

OF IDEAS OF BEAUTY	218

OF THE THEORETIC FACULTY AS CONCERNED	231

Ideas of beauty how essentially moral	237

OF ACCURACY AND INACCURACY IN IMPRES SIONS OF SENSE PAGE 1 By what test is the health of the perceptive faculty to be determined?	240

And in what sense may the terms Right and Wrong be attached to its conclusions?	241

3 What power we have over impressions of sense	242

Depends on acuteness of attention	243

What duty is attached to this power over impressions of sense	244

How rewarded	245

9 Errors induced by the power of habit	246

The large scope of matured judgment	247

How distinguishable from false taste	248

13 The danger of a spirit of choice	249

With what liabilities to error	251

17 The term beauty how limitable in the outset Divided into typical and vital	252

OF FALSE OPINIONS HELD CONCERNING BEAUTY 1 Of the false opinion that truth is beauty and vice versa	253

Of the false opinion that beauty is usefulness Com pare Chap xii 5	254

The twofold operation of custom It deadens sensation but confirms affection	255

Instances tion of ideas	257

Association accidental The extent of its influence	258

The dignity of its function	259

How it is connected with impressions of beauty	260

And what caution it renders necessary in the examina tion of them	261

FIRST OF INFINITY OR THE TYPE OF DIVINE INCOMPREHENSIBILITY 1 Impossibility of adequately treating the subject	263

The child instinct respecting space	265

Whereto this instinct is traceable	266

Infinity how necessary in art	267

Conditions of its necessity	268

How the dignity of treatment is proportioned to the ex pression of infinity	269

Examples among the Southern schools	270

Among the Venetians	271

Other modes in which the power of infinity is felt	272

The beauty of curvature	273

The beauty of gradation	274

How necessary in Art	275

Infinity not rightly implied by vastness	276

The general conception of divine Unity	277

The glory of all things is their Unity	278

The several kinds of unity Subjectional Original Of sequence and of membership	279

Unity of membership How secured	280

Variety Why required	281

Change and its influence on beauty	282

The love of change How morbid and evil	283

The conducing of variety towards unity of subjection	284

And towards unity of sequence	286

The value of apparent proportion in curvature	289

How by nature obtained	290

Apparent proportion in melodies of line	291

Constructive proportion Its influence in plants	293

And animals	294

OF REPOSE OR THE TYPE OF DIVINE PERMA NENCE 1 Universal feeling respecting the necessity of repose in art Its sources	296

Repose how expressed in matter	297

The necessity to repose of an implied energy	298

Associated ideas adding to the power of the impression Influence of clearness	309

Purity only metaphorically a type of sinlessness	310

Energy how expressed by purity of matter	311

And of color	312

Spirituality how so expressed	313

OF MODERATION OR THE TYPE OF GOVERN MENT BY LAW PAGE 1 Meaning of the terms Chasteness and Refinement	314

How to the perception of completion	315

Moderation its nature and value	317

It is the girdle of beauty	318

How difficult of attainment yet essential to all good	319

GENERAL INFERENCES RESPECTING TYPICAL BEAUTY 1 The subject incompletely treated yet admitting of gen eral conclusions	320

Typical beauty not created for mans sake	321

What encouragement hence to be received	322

OF VITAL BEAUTY FIRST AS RELATIVE 1 Transition from typical to vital Beauty	323

The perfection of the theoretic faculty as concerned with vital beauty is charity	324

Only with respect to plants less affection than sym pathy	326

Which is proportioned to the appearance of energy in the plants	327

This sympathy is unselfish and does not regard utility	328

Especially with respect to animals	329

And it is destroyed by evidences of mechanism	330

The second perfection of the theoretic faculty as con cerned with life is justice of moral judgment	331

How impeded	332

The influence of moral signs in expression	333

As also in plants	335

Recapitulation	336

OF VITAL BEAUTY SECONDLY AS GENERIC 1 The beauty of fulfilment of appointed function in every animal	338

The two senses of the word ideal Either it refers	339

Or to perfection of type	341

Of Ideal form First in the lower animals	342

Ideal form in vegetables	343

Admits of variety in the ideal of the former	344

Ideal form in vegetables destroyed by cultivation	345

Instance in the Soldanella and Ranunculus	346

The beauty of repose and felicity how consistent with such ideal	347

The ideality of Art	348

Ideality how belonging to ages and conditions	349

OF VITAL BEAUTY THIRDLY IN MAN 1 Condition of the human creature entirely different from that of the lower animals	350

What room here for idealization	351

Modifications of the bodily ideal owing to influence of mind First of intellect	352

Secondly of the moral feelings	353

What beauty is bestowed by them	355

The inconsistency among the effects of the mental vir tues on the form	356

10 Consequent separation and difference of ideals	357

The effects of the Adamite curse are to be distinguished from signs of its immediate activity	358

12 Which latter only are to be banished from ideal form	359

Ideal form is only to be obtained by portraiture	360

Evil results of opposite practice in modern times	362

17 Ideal form to be reached only by love	363

19 Expressions chiefly destructive of ideal character 1st Pride	364

21 Secondly Sensuality	365

How connected with impurity of color	366

Or by severity of drawing	367

And modern art	368

Thirdly ferocity and fear The latter how to be dis tinguished from awe	369

Ferocity is joined always with fear Its unpardonable ness	370

Such expressions how sought by painters powerless and 31 Of passion generally	372

It is never to be for itself exhibitedat least on the face	373

33 Recapitulation	374

GENERAL CONCLUSIONS RESPECTING THE THEORETIC FACULTY 1 There are no sources of the emotion of beauty more than those found i...	376

What imperfection exists in visible things How in a sort by imagination removable	377

The four sources from which the pleasure of beauty is derived are all divine	378

Typical beauty may be æsthetically pursued Instances	379

How interrupted by false feeling	380

Greatness and truth are sometimes by the Deity sus tained and spoken in and through evil men	381

The second objection arising from the coldness of Chris tian men to external beauty	383

Reasons for this coldness in the anxieties of the world These anxieties overwrought and criminal	384

Theoria the service of Heaven	385

OF THE THREE FORMS OF IMAGINATION	386

OF IMAGINATION ASSOCIATIVE	392

to action of the imagination 339	398

The monotony of unimaginative treatment	403

And Turner	408

The due function of Associative imagination with re spect to nature	409

The sign of imaginative work is its appearance of abso lute truth	410

OF IMAGINATION PENETRATIVE 1 Imagination penetrative is concerned not with the com bining but apprehending of things	412

The imagination seizes always by the innermost point	413

It acts intuitively and without reasoning	414

Signs of it in language	415

Distinction between imagination and fancy	416

Fancy how involved with imagination	419

Want of seriousness the bar to high art at the present time	420

Imagination is quiet fancy restless	421

And suggestive of the imagination	422

This suggestiveness how opposed to vacancy	423

Imagination addresses itself to imagination	424

Instances from the works of Tintoret	425

The Annunciation	426

The Baptism of Christ Its treatment by various paint ers	427

By Tintoret	429

The Crucifixion	430

The Massacre of Innocents	432

Various works in the Scuola di San Rocco	434

By Tintoret	435

25 The imaginative verity how distinguished from real ism	437

The imagination how manifested in sculpture	438

Michael Angelo	439

Recapitulation The perfect function of the imagina tion is the intuitive perception of ultimate truth	442

30 Imagination how vulgarly understood	444

How its cultivation is dependent on the moral feelings	445

And on habitual reference to nature	446

OF IMAGINATION CONTEMPLATIVE 1 Imagination contemplative is not part of the essence but only a habit or mode of the faculty	447

Is not in itself capable of adding to the charm of fair things	448

But gives to the imagination its regardant power over them	449

The third office of fancy distinguished from imagination contemplative	451

Various instances	453

Morbid or nervous fancy	456

The action of contemplative imagination is not to be ex pressed by art	457

Except under narrow limits 1st Abstract rendering of form without color	458

Of color without form	459

Abstraction or typical representation of animal form	461

Or in architectural decoration	462

Exception in delicate and superimposed ornament	463

Abstraction necessary from imperfection of materials	464

Abstractions of things capable of varied accident are not imaginative	465

Exaggeration Its laws and limits First in scale of representation	466

20 Secondly of things capable of variety of scale	467

Thirdly necessary in expression of characteristic feat ures on diminished scale	468

Recapitulation	469

OF THE SUPERHUMAN IDEAL 1 The subject is not to be here treated in detail	470

3 And these are in or through creature forms familiar to us	471

Or by inherent Dignity	472

No representation of that which is more than creature is possible	473

Supernatural character expressed by modification of accessories	475

Landscape of the religious painters Its character is eminently symmetrical	476

Landscape of Perugino and Raffaelle	477

Such Landscape is not to be imitated	478

Color and decoration Their use in representations of the Supernatural	479

And color pure	480

Ideal form of the body itself of what variety suscepti ble	481

Symmetry How valuable	482

Its scope how limited	483

Conclusion	484

Addenda	486

عبارات ومصطلحات مألوفة

aerial aerial perspective Alps angle appear artist bank Battle of Marengo beauty beds blue boughs Canaletto cast character chiaroscuro Claude Claude's clear clouds color concave convex Copley Fielding curves delicate distance drawing duckweed edge effect evidence expression exquisite fall farther feeling fissures foam foliage foreground give gray green ground Hence hills horizontal impression instance John Varley lake Land's End landscape leaves less Leucippus light lines local color look mass mind moun mountain nature ness never object observe old masters paint painters parallel peaks perfect pict picture Pitti palace precipice rendering ridges ripple rise river Rivers of France rock Salvator's seen shade shadow shadow falls sharp shore side slope snow space speculum metal spray Stanfield stream summit surface things tion torrent touch transparent trees truth Turner unity Vandevelde Venice vertical water-painting waves whole

مقاطع مشهورة

الصفحة 264 - From God who is our home. Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.‏

تظهر في 822 من الكتب من 1807-2008

الصفحة 317 - That which doth assign unto each thing the kind, that which doth moderate the force and power, that which doth appoint the form and measure, of working, the same we term a law.‏

تظهر في 238 من الكتب من 1793-2008

الصفحة 456 - Huge trunks, and each particular trunk a growth Of intertwisted fibres serpentine, Up-coiling and inveterately convolved ; Nor uninformed with Phantasy, and looks That threaten the profane ; a pillared shade Upon whose grassless floor of red-brown hue, By sheddings from the pining umbrage tinged...‏

تظهر في 177 من الكتب من 1815-2008

الصفحة 418 - O Proserpina, For the flowers now that frighted thou let'st fall From Dis's waggon! daffodils That come before the swallow dares, and take The winds of March with beauty; violets dim, But sweeter than the lids of Juno's eyes Or Cytherea's breath; pale primroses, That die unmarried, ere they can behold Bright Phoebus in his strength...‏

تظهر في 887 من الكتب من 1798-2008

الصفحة 390 - And missing thee, I walk unseen On the dry smooth-shaven green. To behold the wandering moon, Riding near her highest noon. Like one that had been led astray Through the heaven's wide pathless way, And oft, as if her head she bowed, Stooping through a fleecy cloud.‏

تظهر في 653 من الكتب من 1782-2008

الصفحة 412 - And fuelled entrails thence conceiving fire, Sublimed* with mineral fury, aid the winds, And leave a singed bottom all involved With stench and smoke: such resting found the sole Of unblest feet.‏

تظهر في 333 من الكتب من 1795-2007

الصفحة 381 - And he took up his parable and said, Balaam the son of Beor hath said, and the man whose eyes are open hath said...‏

تظهر في 444 من الكتب من 1730-2008

الصفحة 390 - Under the opening eyelids of the morn, We drove a-field, and both together heard What time the gray-fly winds her sultry horn...‏

تظهر في 792 من الكتب من 1713-2008

الصفحة 389 - So spake the grisly terror, and in shape, So speaking: and so threatening, grew tenfold More dreadful and deform : on the other side, Incensed with indignation, Satan stood Unterrified, and like a comet burned, That fires the length of Ophiuchus huge In the arctic sky, and from his horrid hair Shakes pestilence and war.‏

تظهر في 447 من الكتب من 1669-2007

الصفحة 375 - On every corse there stood. This seraph-band, each waved his hand; It was a heavenly sight! They stood as signals to the land, Each one a lovely light; This seraph-band, each waved his hand, No voice did they impart — No voice; but oh! the silence sank Like music on my heart.‏

تظهر في 423 من الكتب من 1798-2007

معلومات المراجع

العنوان	Modern painters المجلد 21 من The Complete Works, John Ruskin
المؤلف	John Ruskin
الناشر	Bryan, Taylor, 1894
أصلي من	مكتبة نيويورك العامة
الكتب ذات التنسيق الرقمي	4 تشرين الثاني (نوفمبر) 2006

تصدير الاقتباس	BiBTeX EndNote RefMan

معلومات حول كتب Google - سياسة الخصوصية - بنود الخدمة - معلومات للناشرين - الإبلاغ عن مشكلة - مساعدة - صفحة ‏Google الرئيسية