Ruskin, John |
| WRITER, ART CRITIC, GRAPHICAL ARTIST (ENGLAND) |
|
BORN 8 Feb 1819, London - DIED 20 Jan 1900, Brandwood, Lancashire GRAVE LOCATION Coniston, Cumbria: St. Andrew's Churchyard |
|
Writer of extensive works on art in which he emphasized the importance
of nature for spiritual health. He was among the first to recognize
the qualities of Turner and defended the pre-raphaelites against
the vigorous attacks by the critics. He had a huge personal
fortune that he used for filantropic projects. His marriage
to Effie Gray was annulled on the groud of non-consummation
and she married his friend John Millais, whose work he had always
praised highly. From 1858 on he loved Rose La Touche, until
even after her death in 1875. Ruskin blasted the paintings of Whistler and wrote about "Nocturne in Black and Gold: the Falling Rocket" that Whistler was 'flinging a pot of paint in the public face' and that asking 200 guineas for it was nearly wilful imposture. Whistler sued him for this and a trial surrounded by much publicity followed. Ruskin wasn't present, and Whistler won after a brilliant defense. But since he was awarded only one farthing in damages and had to pay the costs of the trial, he eventually went bankrupt. Work: "Modern painters" (five volumes, 1860). Related persons • has a connection with Burne-Jones, Edward Coley • knew Dyce, William • was pupil to Harding, James Duffield • was patron of Hunt, Alfred William • knew Hunt, Violet • was painted by Millais, John Everett • wrote about Mulready, William • was teacher to Noel, Anne Isabella, 15th Baroness Wentworth • was admired by Proust, Marcel • has a connection with Roberts, David • employed Rooke, Thomas • knew Smetham, James • supported Turner, Joseph Mallord William • has a connection with Whistler, James MacNeill Sources • Winkler Prins Encyclopedie (editie 1909), 1909 • Greenwood, Peter, Who's buried where in England, Constable, London, 1982 • Barilli, Renato, Die Präraffaeliten, Manfred Pawlak, Herrsching, 1988 • Whelchel, Harriet (ed.), John Ruskin and the Victorian Eye, Harry N. Abrams, New York, 1993 |