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John Ryuskin

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Study of Leaves by John Ruskin

© John Ruskin 1869 by Elliot and Fry

© Study of Leaves by John Ruskin. This Edition Published by Arrangement with Ruskin Foundation (Ruskin Library, Lancaster University)

© Preface. Vinogradova Yu. V., 2015

© Edition in Russian, Design. LLC Ripol Classic Group of Companies, 2015

Preface

"John Ryuskin is one of the wonderful people not only in England and our time, but also of all countries and times. He is one of those rare people who thinks by the heart, and therefore thinks and says that he himself sees and feels and what will think and say everything in the future. " So I wrote about the English historian of art, philosopher, a public figure John Ryuskin Lev Nikolayevich Tolstoy. The famous Yasopolets found in the works of Röuskin a lot of consonant with his own views and actually became one of his popularizers in Russia.

The identity of this English criticism caused admiration not only from the Russian graph, but also in many of his contemporaries and thinners of future generations. Lectures that Röuskin read in Oxford were collected so many listeners that not everyone had enough space even in the largest university audience. Among his later fans were Marseille Prost, Oscar Wald, Mahatma Gandhi. Ryorskin's activities find parallels in the articles of Vladimir Stasov and Bernard Shaw.

Röuskin is known primarily as a critic and historian of art, but he was also professionally fond of geology, paying great attention to architecture, was engaged in issues of the economic and political and social structure of society, perfectly painted and left a big graphic heritage, primarily architectural sketches. Such a variety of interests Rodiskina's interests with the leaders of the Renaissance and Early New Time, despite the fact that this period in the history of art he most criticized and even rejected his preferring to him Middle Ages.

Love to the art and nature of Röiskin inherited from his father - the successful Winnergian John James Ryoskina, in the family of which in 1819 and the future great critic was born. Röuskin-senior handed his son not only his hobbies, but also a pious attitude towards the Bible and the love of serious literature (he was honored by Homer, Shakespeare, Walter Scott). And with them - a huge fortune, providing young Rösskina a brilliant education in Oxford and a peaceful life. Later Röiskin will write: "The task of the Father is to develop a child's mind, and the mother's task is to educate his will ... Moral education is to promote the development of the abilities of delight, hope, love." All this he got enough in his hometown.

Röuskin began to write early - already at the twenty age he had the first architecture publications. At the same time he met and became interested in the works of William Turner and wrote a whole brochure in defense of the painter, while considerable criticism. His admiration by Turner was so great that today Röuskin is called not otherwise as a discoverer for the general public of this artist. By that time, it was almost seventy to the terraire, he was a corresponding member and a professor of the Royal Academy. However, it is support for young Röuskin who allowed the artist to surrender against the pressure of Victorian installations in painting and art.

An even greater value of his publication had for a group of prefalite artists. Röuskin actually designed in a slender theory scattered views of young and bold painters, headed by William Holman Hunt, John Evert Milles and Dante Gabriel Rossetti. The critical works of Ryuskina and a number of its publications for Times helped artists to strengthen their positions, and the critic himself was declared the theoretical of Pre-Faelites, their mentor and other. The result of his research in the field of art was not only individual articles and lectures, but also the five-volume treatise "Modern artists".

Art critic Röuskin is always criticizing taste, his publications and lectures - an attempt to improve this taste, to raise. "The taste is not only a part or a sign of morality," wrote Röiskin, but in it all morality. Tell me what you love, and I will say that you are for a person. " The slim Estete Röuskin in the direct conversation with the public was raised not only and not how much the issues of a professional sense, how much did the human sensitivity, ordinary impersonality, spoke for the art that the world can make better, the art created in the name of benefits, good, justice. Sometimes his speech sounds too dydeactically and readily, but Röuskin is his own - Victorian - time, brought up on the strict Protestant morality and accustomed to put forward high demands and to others.

Later, Ryuskin's interests from art historian scope moved to the area of \u200b\u200bsocial knowledge. As a major thinker, he could not get around the injustice and imperfection of the device of the modern society. Today it is often called the founder of English socialism. In its publications, Röiskin called for various reforms, including in the field of education, as well as to change the patriarchal role of a woman, which would allow her to implement himself in the public sphere instead of the unchanging position of the housewife. But the main thing, Röiskin criticized the technical progress, which, according to the thinker, ruined his beloved nature, destroyed the monuments of art and adversely affected the human souls. His ideas sometimes caused ridicule, and Professor himself from Oxford often looked like an eccentric. For example, I ordered myself a shirt only from the canvas, woven by hand, or insisted that his books were printed on a hand machine and in no case drove through the railway.

Röiskin sought to revive manual labor and handicrafts, believing that engineering production is deletions and work itself, and the person himself. Its main thoughts are set forth in labor "Political Sale of Art", written on the basis of lectures, which Ryuskin read in Manchester in 1857, as well as in the book "The Last, as the First". He produced a special popular publication, whose main audience was English workers, artisans. "No one can teach something worthless knowledge otherwise, as the work of the hands," he wrote Röiskin. He even founded the guild of St. George - the community, whose main task was to return to the ground and manual work. Like any utopian education, the guild existed long, but influenced the further occurrence of such communities. At the same time, the paradoxal utopism of Röuskin was that he did not write the actually literary utopia, remaining in the field of criticism of art, architecture, social device. In a certain sense, Röiskin acted as an ideological radical of his time, many of his works contemporaries without the shade of coquetry were called brave.

In total, for your long life (he lived eighty-one), John Ryuskin wrote several dozen works and hundreds of lectures - only about thirty volumes. However, in Russia, only a small part of his heritage is known. The first translations appeared at sunset Röiskina (he died in 1900). Work was published "Education. Book. Woman "(with preface Tolstoy)," olive wreath "," The latter, as the first "," Orlinic nest ", the first Tom of the" Modern Artists "treatise.

At the turn of the XX and XXI centuries in Russia, part of the works of Ryuskin is reprinted, the translation of others is carried out for the first time. However, these are still the chosen pages of his work, primarily those works that are associated with art (largely due to the interest in the activities of the artists-Pre-Failelites in recent years). The eyelid after reissued "lectures on the art", read by Roschinic for Oxford students. Today, these lectures will not give a clear idea of \u200b\u200bthe artistic life of England, they have neither a system and structured scientific base. However, in them, the critic teaches their listeners to extract knowledge and skills in their own difficulty, teaches deep perception of art, because for Professor Rösskina to feel much more important than competently described him.

From other art historical books, a small popular publication "Walking along Florence" was again saw, which travelers once took with them, going to the city of the Great Art. Together with her, "Fiosolo laws", telling about the art principles of the Great Jotto. For the first time, it was published in Russian in the abbreviated version of the book "Venice Stones", in which Röuskin gives an exhaustive portrait of the city on the water and primarily revered by the architectural style of Gothic. Relatively recently carried out the translation of the architectural and theoretical treatise "Seven SHIP architectures", in which Röuskin is not interested in the style of styles, not the design and technical side of architecture, but the ethical, moral and social sense of architecture. In Russian and the book "Ethics of dust", formally dedicated to the nature of minerals, but essentially expanding the author's philosophical thoughts, his ideas about biblical truths, literature, art.

English art historian, writer, was born in London on February 8, 1819. His father was the co-owner of the company selling wine. The family was pious, and the home religious atmosphere imposed a noticeable imprint on the formation of John's personality. Father was not indifferent to art, at the 13th age, John traveled a lot with his family in Europe. As a student of British artists, J. Harding and K. Fielding, Röuskin reached this field of considerable success. The object of its image is most often architecture. He showed a special interest to Gothic. During travel, usually included information about geological formations seen in the landscape of various localities.

From 1836, John Ryuskin is a student of Oxford University, Kraistch-Church College. In 1839, he became the owner of the Newdigati Prize for the best poem written in his native language. In the spring of 1840, he had to stop learning due to the opening bleeding, which doctors tied with tuberculosis. In 1841, Röiskin appealed to the composition written by him at the age of 17, and began to write an addition to him. As a result, large-scale work "Modern artists" appeared. The first of the five volumes was published in 1843. A visit to Europe for the first time without a family enriched his impressions that the second volume of the second volume, which came out in 1846, the interest in the Gothic architecture turned into a publication in 1849. Seven architectural lamps, after which Röiskin all attention focused on the architecture of Venice, where he together with his wife for two winters copied material for the book about the stones of this city.

Upon returning to the Motherland, art historian has become an active defender of the artists-Prefailelites, who were subjected to social criticism after the exhibition at the Academy. A certain period of biography fell to the work of Röiskina by the teacher of the capital's working college. An read course of lectures "Political Sale of Art" (Manchester, 1857) testified to the displacement of the emphasis with "pure" art history to social transformations. The book developed by this topic "The latter, as the first one" testified to the formation of the political and economic views of Röuskin. He offered to reform the education system, to ensure universal employment, assist the disabled and old people. The same book was a reflection of his spiritual crisis. Since 1860, depression has become a permanent writer's companion.

In 1869 Röiskin - the first honorary professor of the arts of Oxford; They were collected intended for students a rich collection of various works of art. Since 1871, the "Fors Clavigera" edition of the "Fors Clavigera", the main audience of which were workers, artisans of the country were every month. In it, Röuskin promoted handicraft production, called upon his revival, told about the places where workshops could be created, etc. The publication that was published in 1886, further strengthened its popularity in this social environment.

The spiritual health of Röuskin has gradually deteriorated, and by the end of 1873 it began to reflect on his teaching activities. In many ways it was associated with a stormy unhappy life. After 5 years, he developed a severe mental illness, manifested by attacks, but, nevertheless, not degrading his memory. Since 1885, the last period of the life of Röiskina is connected with the stay in Northern Lancashire, his own estate of Brentwond, where he remained until the death of death. Throughout 1885-1889. He wrote his last work - the autobiography called the "Past", which is considered one of the most interesting writings. Röiskin died on January 20, 1900, leaving after himself 5 dozen books, 7 hundred lectures and articles. His creativity largely influenced the worldview of such famous people like Oscar Wilde, W. Morris, Gandhi, M. Prist, L. Tolstoy.

Biography from Wikipedia

(also Raskin, eng. John Ruskin; February 8, 1819, London - January 20, 1900, Brentwood) - English writer, artist, art theorist, literary critic and poet; Member of the Arundel society. I had a great influence on the development of art and aesthetics of the second half of the XIX - early XX century.

Biography and creativity

John Röiskin was born on February 8, 1819 in the family of a rich Scottish merchant Jerez D. J. Rёskina. Grandfather, John Thomas Röuskin, was a merchant, traded the Citz. The family reigned the atmosphere of religious piety, which had a significant impact on the subsequent views of the writer. He traveled a lot in his youth, and the travel diaries necessarily included notes on geological formations in the landscape of countries visited.

Entered the University of Oxford, and subsequently read the course of art historian. Becoming a lecturer, he insisted on the need to study geology and biology by future landscape players, as well as on the introduction of scientific painting practices: "In the dwelling, I dedicate a little time to a painstaking study of nature; In case of bad weather, I take the leaf or plant and draw them. This inevitably leads me to clarify their botanical names. "

Among his works are the most famous "Lectures on Art" (English Lectures Of Art, 1870), "Artistic Fiction: Beautiful and Ugly" (English Fiction: Fair and Foul), "English art" (English. The Art of England) , "Modern artists" (eng. Modern Painters, 1843-1860), as well as the "Nature of Gothic" (English. The Nature of Gothic, 1853), the famous chapter from the "Venice stones", published by William Morris with a separate book. Total Roschin is written fifty books, seven hundred articles and lectures.

Röuskin - theorist of art

Röiskin did a lot to strengthen the positions of Pre-Faelites, for example, in the article "Pre-Faelitism" (English Pre-Raphaelitism, 1851), and also greatly influenced the anti-bubbiable pathos of movement. In addition, he "opened" for the contemporaries of William Torner, painter and graphics, masts of landscape painting. In the book "Modern Artists" Röiskin protects Trinner from attacks of criticism and calls him a "great artist, the gift of which I was able to appreciate during life."

Röuskin also proclaimed the principle of "loyalty to nature": "Not from that, that we love our creations more than it, we appreciate colored glass, not light clouds ... And, highlighting the font and erecting the columns in honor of ... We imagine that We will say a shameful neglect of the hills and the streams that he endowed our habitat - the Earth. As an ideal, he put forward medieval art, such masters of early rebirth, like Perugino, Fra Angeliko, Giovanni Bellini.

The rejection of mechanization and standardization was reflected in the theory of Architecture of Röiskin, an emphasis on the significance of a medieval Gothic style. Röuskin praised the gothic style for his attachment to nature and natural forms, as well as for the desire to make it possible to make a worker, which he, as well as the adherents of the "Gothic Renaissance", led by William Morris, saw in Gothic aesthetics. The nineteenth century is trying to reproduce some gothic forms (fittings, etc.), which is not enough to express true gothic feelings, faith and organity. Gothic style embodies the same moral values \u200b\u200bthat Röiskina are seen in art, - the values \u200b\u200bof strength, hardness and inspiration.

The classic architecture as opposed to the Gothic architecture expresses moral hazardiness, regressive standardization. Röiskin binds classic values \u200b\u200bwith modern development, in particular with the demoralization consequences of the industrial revolution, reflected in such architecture phenomena, like a Crystal Palace. A lot of works are devoted to the questions of the architecture, but he reflected his most expressive ideas in the essay "nature of gothic" ("The Nature of Gothic") from the second volume of the "Venice Stones" (The Stones of Venice) of 1853, released in the height of the rag "Battle of Styles." In addition to the apology of the Gothic style, he spoke in it with criticism of the division of labor and the unregulated market, defended by the English political economy school.

Reviews to society

Taking drawing in the working college of London, John Röuskin signed under the influence of Thomas Carlejel. At this time, he is starting to be more interested in the ideas of the transformation of society as a whole, and not just the theory of art. In the book "The latter, as the first" (Unto This Last, 1860), denoting the design of political and economic views Röiskina, he acts as criticizing capitalism from the standpoint of Christian socialism, demanding reforms in education, universal employment and social assistance to disabled people and people of old age . In 1908, this work of Röuskin was translated into Gujarat's Indian politician Mohandas Gandhi under the name "Sarvodaya".

In 1869, he was elected the first honorary professor of the arts of Oxford University, whose students gathered a collection of works of art in originals and reproductions. Röiskin also acquired great popularity in the medium of artisans and the working class - especially in the light of the foundation of them from 1871 to 1886 the monthly edition of Fors Clavigera ("Letters to Workers and Workers of Great Britain"). Together with William Morris and Prerafaelitis, he sought to open the beauty of industrial areas the beauty of handicraft production and defeat the dehumanizing consequences of mechanized labor with the help of art and industrial workshops, where only creative hand-made work would be used. Röiskin himself was headed by the first such workshop, the name of the guild of St. George.

Personal crisis

In 1848, Röiskin married Efphy Gray. The marriage turned out to be unsuccessful, the spouses went out and in 1854 they received a divorce, and in 1855 Effi married to the artist John Eversett Mill. The reason for the divorce was that the spouses did not enter married relations. The Canadian film "Passion of John Ryuskin" is devoted to this story (English. The Passion of John Ruskin) and the British film "Effi".

At the end of the 1850s - 1860s, during the period of acute religious crisis, Röiskin survived passionate love in the girl, and then a girl from the extremely religious Protestant family of Rose La Tasch (1848-1875). He met her in 1858, after eight years made an offer and received the final refusal at the insistence of her parents in 1872. After three years, Rosa died for an unknown reason. The history of this love is repeatedly mentioned in Lolita Nabokov.

In the 1870s, the attacks of mental illness became more frequent in this soil, in 1885 he retired in his estate Brentwood in the Lake Territory, which was no longer left until death.

Röiskina's work had a significant impact on William Morris, Oscar Wilde, Marseille Proust, Mahatma Gandhi, and in Russia - to Lion Tolstoy. In the new world, his ideas tried to embody a network of utopian-socialist communes, included "Colonies of Raskin" in Tennessee, Florida, Nebraska and British Columbia.

Selected web

• "Cascades of madness. Chamonix "(1849) Birmingham, Art Gallery
• Gnessing Rocks in Glenfinlas (1853) Oxford, Ashmoleon Museum
• Iris Fiorentina (1871) Oxford, Ashmoleon Museum

Selected bibliography

• "Poetry of architecture" ( THE POETRY OF ARCHITECTURE, 1838)
• THE KING OF THE GOLDEN RIVER (1841)
• "Modern artists" ( Modern Painters., 1843)
• "Modern artists 2" ( Modern Painters II., 1846)
• The Seven Lamps of Architecture ("Seven light architectures") (1849)
• Pre-raphaelitism (1851)
• The Stones of Venice I (1851)
• The Stones of Venice II and III (1853)
• Architecture and Painting. (1854)
• Modern Painters III. (1856)
• THE HARBOURS OF ENGLAND (1856)
• Political Economy of Art (1857)
• The Two Paths. (1859)
• THE ELEMENTS OF PERSPECTIVE (1859)
• Modern Painters IV. (1860)
• Unto This Last. (1862)
• Munera Pulveris (Essays on Political Economy) (1862)
• Cestus of Aglaia. (1864)
• Sesame and Lilies. (1865)
• THE ETHICS OF THE DUST (1866)
• THE CROWN OF WILD OLIVE (1867)
• Time and Tide. (1867)
• THE FLAMBOYANT ARCHITECTURE OF THE SOMME (1869)
• The Queen of The Air (1869)
• Verona and Its Rivers (1870)
• Aratra Pentelici. (1872)
• The Eagle's Nest (1872)
• "The Poets Day by Day" (1873)
• Love's Meinie. (1873)
• ARIADNE FLORENTINA. (1873)
• Val d'Arno. (1874)
• THE ETHICS OF THE DUST 1875
• Mornings in Florence (1877)
• "Artistic fiction: beautiful and ugly" ( FICTION, FAIR AND FOUL, 1880)
• Deucalion. (1883)
• ST MARK'S REST (1884)
• Storm-Clouds of the NineteENTH Century (1884)
• Bible of amiens. (1885)
• Proserpina. (1886)
• Praeterita. (1889)

John Reskin, English art historian, writer, born in London on February 8, 1819. His father was a co-owner of the company selling wine. The family was pious, and the home religious atmosphere imposed a noticeable imprint on the formation of John's personality. Father was not indifferent to art, at the 13th age, John traveled a lot with his family in Europe. As a student of British artists, J. Harding and K. Fielding, Reskin reached this field of considerable success. The object of its image is most often architecture. He showed a special interest to Gothic. During travel, usually included information about geological formations seen in the landscape of various localities.

From 1836, John Reskin - a student of Oxford University, Kraistch-Church College. In 1839, he became the owner of the Newdigati Prize for the best poem written in his native language. In the spring of 1840, he had to stop learning due to the opening bleeding, which doctors tied with tuberculosis. In 1841, the Reskin appealed to the composition written by him at the age of 17, and began to write an addition to him. As a result, large-scale work "Modern artists" appeared. The first of the five volumes was published in 1843. A visit to Europe for the first time without a family enriched his impressions that the second volume of the second volume, which came out in 1846, the interest in the Gothic architecture turned into a publication in 1849. Seven architectural lamps, after which Reskin all the attention focused on the architecture of Venice, where he along with his wife for two winters copied material for a book about the stones of this city.

Upon returning to the Motherland, art historian has become an active defender of the artists-Prefailelites, who were subjected to social criticism after the exhibition at the Academy. A certain period of biography fell to the work of the Kurskin by the teacher of the capital's working college. An read course of lectures "Political Sale of Art" (Manchester, 1857) testified to the displacement of the emphasis with "pure" art history to social transformations. The book developed by this topic "The latter, as the first one" testified to the formation of political and economic views of the reskin. He offered to reform the education system, to ensure universal employment, assist the disabled and old people. The same book was a reflection of his spiritual crisis. Since 1860, depression has become a permanent writer's companion.

In 1869, the Reskin is the first honorary professor of the arts of Oxford; They were collected intended for students a rich collection of various works of art. Since 1871, the "Fors Clavigera" edition of the "Fors Clavigera", the main audience of which were workers, artisans of the country were every month. In Him, the Reskin promoted craft production, called for his revival, told about places where workshops could be created, etc. The publication that was published in 1886, further strengthened its popularity in this social environment.

The spiritual health of the resquin has gradually deteriorated, and by the end of 1873 it began to reflect on his teaching activities. In many ways it was associated with a stormy unhappy life. After 5 years, he developed a severe mental illness, manifested by attacks, but, nevertheless, not degrading his memory. Since 1885, the last period of the resquin life is connected with the stay in Northern Lancashire, its own estate of Brentwond, where he remained until the death. Throughout 1885-1889. He wrote his last work - the autobiography called the "Past", which is considered one of the most interesting writings. Reskin died on January 20, 1900, leaving after himself 5 dozen books, 7 hundred lectures and articles. His creativity largely influenced the worldview of such famous people as

The greatest theorist and the historian of art, the English philosopher and cultural scientist of the XIX century John Reskin (1819-1900) - a passionate preacher of artistic creativity "in the name of benefit, good and justice" and at the same time a thin Estet, an expert of antiquity and revival, the discoverer of Turner and the theoretical of Pre-Faelites.

Born on February 8, 1819 in the family of a rich Scottish merchant Jerez D. J. Rёskina. The family reigned the atmosphere of religious piety, which had a significant impact on the subsequent views of the writer.

John Ryucin - theorist and historian of art

John Röiskin had a great influence on the development of art and aesthetics, Western philosophy and the ideology of wildlife protection. He was elected the first honorary professor of the art of Oxford University. He taught in Oxford and Cambridge. It is written fifty books, seven hundred articles and lectures.

In Russia, the main works of J. Reskin were published on the Russian language at the turn of the XIX-XX centuries. However, in the early 1920s, the zirkulam of the Department of Enlightenment of N. Krukskaya Book J. Reskin, among some others, were prohibited from issuing in libraries. During the Soviet power, it was not translated and was not published.

On Eschatos there is an opportunity to read the books of Ryuskin - and the publication is pre-revolutionary, and publications in modern spelling.

John Reskin Modern Artists

General principles and truth in art

Translation from the second English edition

P.S. Kogan

Partnership Typography A.I. Mamontov

John Reskin. Rural leaves

Excerpts from "Modern Painters"

Translation L.P. Nikiforov

Moscow.

John Reskinetics Dust

Translation L.P. Nikiforov

Moscow

Edition V.N Lind and I.A. Baladina

John Reskin. EAGLE'S NEST

10 lectures on the attitude of natural science to art

Translation L.P. Nikiforov

Moscow

Edition of the store "Book business"

John Reskin. Sesame and Lily

Translation L.P. Nikiforov

Moscow

John Reskin. Last as the first

Four essay of the basic principles of political economy

Translation L.P. Nikiforov

Moscow

Store publication "Book business and I.A. Baladina "

relatively: dresses, upbringing, marriage, activities, influence, work, rights and so

Translation L.P. Nikiforov

Store publication "Book business and I.A. Baladina "

John Reskin Olive Wreath

four lectures O. industry and War

Translation L.P. Nikiforov

Store publication "Book business and I.A. Baladina "

1900

Selected Pages

Translation OM Solovyva

Moscow, 1900.

Modern reprints of John Ryoskina books

Per. from English M. Kurtna, N. Lebedeva, S. Sukhareva. - SPb.: ABC-Classic, 2007. - 320 p. + Plot (64 p.)
ISBN 978-5-352-02208-5

Translation made by publishing: Ruskin J. Seven Lamps of Architecture. London, 1849.

He did not deal with architecture as construction, he did not touch the physical component of this process, its material poverty. John Reskin examines solely philosophical and moral principles, which, in his opinion, should be guided by the architect as the creator of the dwelling, some physical and mental space, and even the temple.

The principles of these, or Sveti, as they named the author: Beauty, strength, life, truth, memory, obedience, the victim. The book discloses deeper, why these bases are and that they carry themselves in architecture.

Per. from English A. V. Glebovskaya, L. N. Zhitkova. - SPb.: Publishing Group "ABC-Classic", 2009. - 352 p. + plying (16 s).

ISBN 978-5-9985-0415-0

The abbreviated version was prepared by publication: Ruskin J. The Stones of Venice // The Complete Works of John Ruskin. New York, 1905. Vol. 7-9.

"Venice's stones" one of the most significant and volumetric writings of the famous English historian and theorist of art, prose, poet, artist, literary and artistic critic of John Reskin, saw the light in 1851-1853.

It addresses the centuries-old era of the heyday of the Venetian architecture from the early Middle Ages to the late Renaissance and gives a brilliant analysis of the main architectural styles inherent.

In addition to detailed scientific research and theoretical reasoning, the author included in full, three-volume, publishing of its work exhaustive reference material relating to individuals, buildings, terms, etc.

Immediately, on the output from the press, the book has gained great popularity not only among specialists, but also at a wide reader, becoming an indispensable guide to the city.

The publisher considered it possible to release the abbreviation version of the "Stones of Venice" in the series "Artist and Expert", focusing on the description of architectural monuments and their stylistic features. The text used the author's drawings and watercolors, there are color photographs and reproductions on the patter.

Per. from English - SPb.: Alphabet Classic, 2007. - 248 C.: IL. ISBN 978-5-352-02183-5

Notes on Christian art for English travelers.

This book can surprise you to some extent. Because it is not a simple guide to whom we are accustomed today. He was written by the most famous English historian and theoretics of art, the cultural scientist of his time, the poet and the prosair, literary and artistic critic John Kreskin.

And writing time - 1874! All of the listed titles and the titles of the Squin, of course, influenced the quality and style of the compositions of the compositions.

It contains the most interesting historical and art historical material that tells about the history of the creation of such monuments as the Church of Santa Croce, Santa Maria Novella, and many others.

But even more interesting, that the guidebook provides reasoning about the ethical, moral and social problems of Florence of those times that will be useful to today's reader, especially if he studies European history.

Per. from English / Ed .. P. Nikiforova. Ed. 3rd M.: Book House "Librok", 2011. - 152 p. (From the heritage of the world philosophical thought: aesthetics.)

This book, written by an outstanding English theorist J.Ryskin, is devoted to visual arts. The author, at one time he traveled through Italy, sets out drawing principles established by the Great Florentine Jotto.

These principles are the true laws of beauty - differ from the methods of classical schools, which were considered generally accepted and in which, according to the author, there are serious mistakes and disadvantages. The book contains a series of practical techniques and exercises, which are recommended to young people who have a tendency to draw, as well as the Aphorisms of J. Reskin, a recognized master of this literary genre.

The book will be interesting to the philosopams-aesthetics, historians of art, as well as all lovers of drawing.

Per. from English Ed. 2nd, stereotypical. - M.: Komkniga, 2007. - 144 p. (From the heritage of the world philosophical thought: aesthetics.)

The readers are offered to the book of outstanding English art historian and social reformer J. Rёskina (1819-1900), written on the basis of lectures read by him in Manchester in 1857.

The author poses a difficult task - to make morality and aesthetics into political economy; Part of the solution of this task is the desire to introduce beauty elements in the daily everyday life of a person, in his work and production.

Positively belonging to the modern car civilization and preaching free refined work, J. Rёskin expresses a number of interesting ideas about the place and role of the state, about the opening and use of man's talent, on the accumulation and distribution of labor results, etc.

The book will be interested in philosophers, art historians and specialists in the field of economic thoughts, as well as all interested readers.

John Röiskin Lectures on Art

Per. from English P. Kogan Ed. E. Kononenko. - M.: B.S.G.-Press, 2011. - 319 p., Ill. - (ARS LONGA.)
ISBN 978-5-93381-294-4

More than a century, the famous book of an outstanding theorist of art, artistically criticism and publicist John Reskin, who owned the minds of the British intelligentsia of the Victorian era and had a huge impact on the development of art and aesthetics of the second half of the XIH century, and had a huge impact on the development of art and aesthetics.

In these lectures, read by Oxford students, the author offers its own classification of art schools, analyzes the attitude of art to religion, morality, benefits, formulates its vision of history, the modern state and objectives of art.

Modern reprints of John Roiskina's books are looking at the individual pages of the site.

Education in the landscape of countries visited.

Among his works are the most famous "Lectures of Art" (English. Lectures of Art,), "Artistic fiction: beautiful and ugly" (English Fiction: Fair and Foul), "English art" (eng. The Art of England), "Modern artists" (eng. Modern Painters, -), as well as the "Nature of Gothic" (English. The Nature of Gothic,), the famous chapter from the "Stones of Venice", published by William Morris subsequently a separate book. Total Roschin is written fifty books, seven hundred articles and lectures.

Röuskin - theorist of art

Röiskin did a lot to strengthen the positions of Pre-Failelites, for example, in the article "Pre-Faelitism" (English Pre-Raphaelitism,), and also strongly influenced the anti-bubbly pathos of movement. In addition, he "opened" for the contemporaries of William Torner, painter and graphics, masts of landscape painting. In the book "Modern Artists" Röiskin protects Trinner from attacks of criticism and calls him a "great artist, the gift of which I was able to appreciate during life."

Röuskin also proclaimed the principle of "loyalty to nature": "Not from that, that we love our creations more than it, we appreciate colored glass, not light clouds ... And, highlighting the font and erecting the columns in honor of ... We imagine that We will say a shameful neglect of the hills and the streams that he endowed our habitat - the Earth. As an ideal, he put forward medieval art, such masters of early rebirth, like Perugino, Fra Angeliko, Giovanni Bellini.

The rejection of mechanization and standardization was reflected in the theory of Architecture of Röiskin, an emphasis on the significance of a medieval Gothic style. Röuskin praised the gothic style for his attachment to nature and natural forms, as well as for the desire to make it possible to make a worker, which he, as well as the adherents of the "Gothic Renaissance", led by William Morris, saw in Gothic aesthetics. The nineteenth century is trying to reproduce some gothic forms (fittings, etc.), which is not enough to express true gothic feelings, faith and organity. Gothic style embodies the same moral values \u200b\u200bthat Röiskina are seen in art, - the values \u200b\u200bof strength, hardness and inspiration.

The classic architecture as opposed to the Gothic architecture expresses moral hazardiness, regressive standardization. Röiskin binds classic values \u200b\u200bwith modern development, in particular with the demoralization consequences of the industrial revolution, reflected in such architecture phenomena, like a Crystal Palace. A lot of works are devoted to the questions of the architecture, but he reflected his most expressive ideas in the essay "nature of gothic" ("The Nature of Gothic") from the second volume of the "Venice Stones" (The Stones of Venice) of 1853, released in the height of the rag "Battle of Styles." In addition to the apology of the Gothic style, he spoke in it with criticism of the division of labor and the unregulated market, defended by the English political economy school.

Reviews to society

Taking drawing in the working college of London, John Röuskin signed under the influence of Thomas Carlejel. At this time, he is starting to be more interested in the ideas of the transformation of society as a whole, and not just the theory of art. In the book "The latter, as the first" (Unto This Last, 1860), denoting the design of political and economic views Röiskina, he acts as criticizing capitalism from the standpoint of Christian socialism, demanding reforms in education, universal employment and social assistance to disabled people and people of old age . In 1908, this work of Röuskin was translated into Gujarat's Indian politician Mohandas Gandhi under the name "Sarvodaya".

In 1869, he was elected the first honorary professor of the arts of Oxford University, whose students gathered a collection of works of art in originals and reproductions. Röiskin also acquired great popularity in the medium of artisans and the working class - especially in the light of the foundation of them from 1871 to 1886 the monthly edition of Fors Clavigera ("Letters to Workers and Workers of Great Britain"). Together with William Morris and Prerafaelitis, he sought to open the beauty of industrial areas the beauty of handicraft production and defeat the dehumanizing consequences of mechanized labor with the help of art and industrial workshops, where only creative hand-made work would be used. Röiskin himself was headed by the first such workshop, the name of the guild of St. George.

Personal crisis

In 1848, Röiskin married Efphy Gray. The marriage turned out to be unsuccessful, the spouses were drove and in 1854 they received a divorce, and in 1855 Effi married the artist