DOI Heft:
No. 84 (March, 1900)
DOI Artikel:Cook, E. T.: Ruskin as artist and art critic
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19784#0105
John Ruskin
give the reins to their fancy, and show us what individual impression. " All great art is praise";
their heads are made of. We will follow them it is the expression of a man's delight in the
then wherever they choose to lead■ we will beauty of Nature. Individuality is the very soul
check at nothing; they are then our masters, and of art. Ruskin's Gospel of Art can never grow
are fit to be so. They have placed themselves out of date. Whenever art is conventional, or
above our criticism, and we will listen to their unindividual, or academic, or trivial, or careless, or
words in all faith and humility; but not unless ignoble, Ruskin's burning words will serve as a
they themselves have bowed, in the same sub- rebuke and a stimulus. Whenever art is pursued
mission, to a higher Authority and Master." seriously, earnestly, and reverently, his passionate
Ruskin's Gospel of Art is more comprehensive and enthusiasm for the true, the beautiful and the good
more firmly set than those suppose who know it will be received as encouragement and reward,
only by snippets. As against conventionalism he In Ruskin's creed art was no mere recreation—
preaches naturalism. As against the realism of "not a mere amusement, a minister to morbid
ugliness he preaches " typical" (or ideal) beauty. sensibilities, a tickler and fanner of the soul's
As against vague generalisation he preaches sleep." It was the exercise of some of the
vital truth. As against scientific minuteness highest activities of human nature towards the
he preaches resthetic truth. "Your business noblest of ends,—"to make Eternity (in Car-
is to draw what you see, not what you know is lyle's words) look through Time; to render the
there." As against lifeless copying, he preaches Godlike visible."
'ON THE REUSS, BELOW LUCERNE " FROM "THE POETRY OF ARCHITECTURE " (G. Allen) BY JOHN RUSKIN
02
give the reins to their fancy, and show us what individual impression. " All great art is praise";
their heads are made of. We will follow them it is the expression of a man's delight in the
then wherever they choose to lead■ we will beauty of Nature. Individuality is the very soul
check at nothing; they are then our masters, and of art. Ruskin's Gospel of Art can never grow
are fit to be so. They have placed themselves out of date. Whenever art is conventional, or
above our criticism, and we will listen to their unindividual, or academic, or trivial, or careless, or
words in all faith and humility; but not unless ignoble, Ruskin's burning words will serve as a
they themselves have bowed, in the same sub- rebuke and a stimulus. Whenever art is pursued
mission, to a higher Authority and Master." seriously, earnestly, and reverently, his passionate
Ruskin's Gospel of Art is more comprehensive and enthusiasm for the true, the beautiful and the good
more firmly set than those suppose who know it will be received as encouragement and reward,
only by snippets. As against conventionalism he In Ruskin's creed art was no mere recreation—
preaches naturalism. As against the realism of "not a mere amusement, a minister to morbid
ugliness he preaches " typical" (or ideal) beauty. sensibilities, a tickler and fanner of the soul's
As against vague generalisation he preaches sleep." It was the exercise of some of the
vital truth. As against scientific minuteness highest activities of human nature towards the
he preaches resthetic truth. "Your business noblest of ends,—"to make Eternity (in Car-
is to draw what you see, not what you know is lyle's words) look through Time; to render the
there." As against lifeless copying, he preaches Godlike visible."
'ON THE REUSS, BELOW LUCERNE " FROM "THE POETRY OF ARCHITECTURE " (G. Allen) BY JOHN RUSKIN
02