Modern Painters, Volume 2

Capa
Routledge, 1856 - 402 páginas
John Ruskin was the most influential art critic during the Victorian period. His five volume book Modern Painters was written in opposition against art critics who were opposed to the paintings of J.M.W. Turner. Ruskin was a collector of Turner's works and the two were friends. In his writings, Ruskin was a harsh critic towards classical art, and believe that the landscape paintings of Turner and others demonstrated a superior understanding of "truth."

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Índice

Of the Theoretic Faculty as concerned with Pleasures of Sense 1 Explanation of the term Theoretic
11
Use of the terms Temperate and Intemperate 99
12
Grounds of inferiority in the pleasures which are subjects of intemperance
13
Evidence of higher rank in pleasures of sight and hearing
14
How the lower pleasures may be elevated in rank
15
How degraded by heartless reception
16
How exalted by affection
17
With what liabilities to error
26
15
47
Of Symmetry or the Type of Divine Justice
70
General Inferences respecting Typical Beauty
81
PAGE
95
II Of Generic Vital Beauty
98
The difference of position between plants and animals
102
Admits of variety in the Ideal of the former
103
Instance in the Soldanella and Ranunculus
104
The Beauty of repose and felicity how consistent with such Ideal
105
The ideality of art
106
III Of Vital Beauty in Man 1 Condition of the human creature entirely different from that of the lower animals
108
How the conception of the bodily Ideal is reached
109
Modifications of the bodily Ideal owing to influence of mind First Of Intellect
110
What beauty is bestowed by them
112
Is a sign of Gods kind purpose towards the race
113
Consequent separation and difference of Ideals
114
The effects of the Adamite curse are to be distinguished from signs of its immediate activity
115
Ideal form is only to be obtained by portraiture
116
Evil results of opposite practice in modern times
117
Ideal form to be reached only by Love
118
Expressions chiefly destructive of Ideal Character First Pride
119
Secondly Sensuality
120
How connected with impurity of colour
121
Rubens Correggio and Guido
122
Thirdly Ferocity and Fear The latter how to be distinguished from Awe
123
Ferocity is joined always with Fear Its unpardonableness
124
Of passion generally
126
Recapitulation
127
General Conclusions respecting the Theoretic Faculty 1 There are no sources of the emotion of Beauty more than those found in things visible
129
Of Imagination Associative
142
Its limits
148
Relation of the Imaginative faculty to the Theoretic
152
Instances of absence of Imagination Claude Gaspar Poussin
153
Its presence Salvator Nicolo Poussin Titian Tintoret
154
And Turner
155
The sign of imaginative work is its appearance of absolute truth
156
Imagination addresses itself to Imagination
168
The Annunciation
169
The Baptism of Christ Its treatment by various painters
170
By Tintoret
171
The Crucifixion
172
The Massacre of the Innocents
174
Various works in the Scuola di San Rocco
175
The Last Judgment How treated by various painters
176
By Tintoret
177
The imaginative Verity how distinguished from realism
178
Bandinelli Canova Mino da Fiesole
179
Recapitulation The perfect function of the Imagination is the in tuitive perception of Ultimate Truth
182
Imagination how vulgarly understood
183
How its cultivation is dependent on the moral feelings
184
And on habitual reference to nature
185
Of Imagination Contemplative 1 Imagination contemplative is not part of the essence but only a habit or mode of the faculty
186
Is not in itself capable of adding to the charm of fair things
187
But gives to the Imagination its regardant power over them
188
The third office of Fancy distinguished from Imagination contemplative
189
Various instances
191
Morbid or Nervous Fancy
194
Except under narrow limits First Abstract rendering of form without colour
195
Or of both without texture
196
Abstraction of typical representation of animal form
197
Either when it is symbolically used
198
Exception in delicate and superimposed ornament
199
Abstraction necessary from imperfection of materials
200
Exaggeration Its laws and limits First In scale of representation
201
Secondly of things capable of variety of scale
202
Thirdly necessary in expression of characteristic features on dimi nished scale
203
Recapitulation
204
Of the Superhuman Ideal 1 The subject is not to be here treated in detail
205
And these are in or through creature forms familiar to us
206
First of the expression of Inspiration
207
No representation of that which is more than creature is possible
208
Supernatural character expressed by modification of accessaries
209
Landscape of Benozzo Gozzoli
210
Such landscape is not to be imitated
211
Colour and Decoration their use in representations of the Super natural
212
And Colour pure
213
Anatomical development how far admissible
214
Symmetry how valuable
215
Conclusion
216
ADDENDA
219

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