Posts Tagged ‘John Ruskin’
“The medieval principles led up to Raphael, and the modern principles lead down from him”*…
On the occasion of a major National Gallery show in London, Michael Glover on Raphael…
… he was born a mere man, a citizen of Urbino in the Marche, the son of a court painter, who was orphaned very young and raised by an uncle who also happened to be a priest. Perhaps the reverence is due to his talents, which were superabundant, and moved in so many directions at once. He was a painter, printmaker, architect, designer, sculptor, and much else. His industriousness, and the consistent quality of his output, were superhuman. That is undeniable.
Raphael painted relatively few portraits… during his short lifetime, and even fewer in which he could be said to have painted them in order to please himself, because he was always so much in demand by immensely rich and powerful male patrons for the kinds of things that they wanted him to do. They wanted him to beautify public (and private) spaces, all the greater to reflect their own power and importance — beneath the ever-watchful eye of the Christian God, their chief sponsor, in whose revered name they splashed all this cash.
Raphael was the very well remunerated servant of these rich masters, and this was entirely a matter of choice. He was boundlessly ambitious and intimidatingly energetic (he was already running a studio by the age of 17), charming, good-looking (though not to an excessive degree), diplomatic, and utterly opportunistic. Michelangelo loathed him because, though much younger, Raphael seemed to sweep all before him. What a break for the irascible, prickly Michelangelo that his young rival died, quite unexpectedly, of a fever, when he did, leaving him unchallenged for decades!
And Raphael, the name, the work, the style, has resonated and resonated across the centuries…
On the Renaissance painter described by Vasari, his first biographer, as the universal artist: “Raphael Between Heaven and Earth,” in @hyperallergic.
Raphael paints wisdom, Handel sings it, Phidias carves it, Shakespeare writes it, Wren builds it, Columbus sails it, Luther preaches it, Washington arms it, Watt mechanizes it.
Ralph Waldo Emerson
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As we appreciate art, we might recall that it was on this date in 1890 that Vincent Van Gogh shot himself in the chest with a revolver; he died two days later. A post-impressionist painter, he was not commercially successful in his lifetime and, struggling with severe depression and poverty, committed suicide at the age of 37. But he subsequently became, with Raphael, one of the most famous and influential figures in Western art history.
“To be wealthy and honored in an unjust society is a disgrace”*…
What does having money mean for us and for our neighbors? When the art critic John Ruskin took up this question in 1860, he started from the assertion that more money for us means less money for them, and he didn’t have to go much further to conclude that disparity, after all, might be the whole point of the enterprise…
Suppose any person to be put in possession of a large estate of fruitful land, with rich beds of gold in its gravel; countless herds of cattle in its pastures; houses, and gardens, and storehouses full of useful stores; but suppose, after all, that he could get no servants?
In order that he may be able to have servants, someone in his neighbourhood must be poor and in want of his gold—or his corn. Assume that no one is in want of either, and that no servants are to be had. He must, therefore, bake his own bread, make his own clothes, plough his own ground, and shepherd his own flocks. His gold will be as useful to him as any other yellow pebbles on his estate. His stores must rot, for he cannot consume them. He can eat no more than another man could eat, and wear no more than another man could wear. He must lead a life of severe and common labour to procure even ordinary comforts; he will be ultimately unable to keep either houses in repair, or fields in cultivation; and forced to content himself with a poor man’s portion of cottage and garden, in the midst of a desert of wasteland, trampled by wild cattle, and encumbered by ruins of palaces, which he will hardly mock at himself by calling “his own.”
The most covetous of mankind would, with small exultation, I presume, accept riches of this kind on these terms. What is really desired under the name of riches is, essentially, power over men; in its simplest sense, the power of obtaining for our own advantage the labour of servant, tradesman, and artist; in wider sense, authority of directing large masses of the nation to various ends (good, trivial, or hurtful, according to the mind of the rich person).
Via Lapham’s Quarterly, John Ruskin on the Master/Slave paradox: “Blessed are the Poor.” (From Ruskin’s “The Veins of Wealth.”)
[Image above, from here.]
* Confucius, The Analects
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As we wonder about wealth, we might recall that it was on this date in 1940 that Woody Guthrie wrote (the first version, he varied the lyrics over time) of “This Land is Your Land.”; he didn’t record the song until 1944, nor publish it until 1954.
Guthrie wrote the lyrics (to an extant tune) in response to to Irving Berlin’s “God Bless America”, which Guthrie considered unrealistic and complacent. Tired of hearing Kate Smith sing it on the radio, he lifted his pen…as he’d considered writing a retort, he’d thought to name it “God Blessed America for Me”; happily, it surfaced with the title we know.
“Oo ee oo ah ah ting tang walla walla bing bang”*…
On this most bizarre of days, an alternative: hours of fun at The New Yorker‘s “Cartoons at Random.”
* “The Witch Doctor”
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As we fight the urge to bury our heads, we might spare a thought for John Ruskin; he died on this date in 1900. Best remembered as the leading English art critic of the Victorian era, he was also an art patron, draughtsman, watercolourist, a prominent social thinker, and a philanthropist. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany, and political economy, and in styles and literary forms equally varied: Ruskin penned essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale.
Ruskin was hugely influential in the latter half of the 19th century, and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognized as having anticipated interest in environmentalism, sustainability, and craft.
You may either win your peace, or buy it:—win it, by resistance to evil;—buy it, by compromise with evil.
– Ruskin, The Work of Iron, in Nature, Art, and Policy. Lecture at Tunbridge Wells, February 16, 1858
The Annals of Semiology, Volume 666…
Signs of our times…
Many, Many more examples of the communications arts at SignSpotting.
As we erect our displays, we might recall that on this date in 1618, Johannes Kepler discovered the principal of planetary motion that he called “the harmonics law”… and that (however improbably) influenced Goethe in the development of his Theory of Color– a little-read and fundamentally-incorrect, but fascinating critique of Newton’s theories of light and color. In any case, a noble quest… for surely, as John Ruskin observed, “of all God’s gifts to the sighted man, color is holiest, the most divine, the most solemn.”
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