Upper: Steel-plate engraving of Ruskin as a young man, made circa 1845, scanned from print made circa 1895. Middle: Ruskin in middle-age, as Slade Professor of Art at Oxford (1869-1879). Scanned from 1879 book. Bottom: John Ruskin in old age, 1894, by pho
In the following essay, Emerson examines how order and chaos function in Ruskin's theories of artistic composition and in his autobiographical writings.
In the following excerpt, Hanson examines Ruskin's idealized version of his own childhood from the perspective of a God who is capable of condemning as well as blessing.
In the following essay, Gombrich uses quotations and excerpts from Ruskin's The Seven Lamps of Architecture to argue for conserving buildings from earlier times.
In the following essay, Ogden explores how John Ruskin helped to introduce elements of Orientalism into the Gothic Revival in Great Britain by shifting focus in his Stones of Venice from medieval Britain to medieval Italy.
In the following essay, Birch argues that while Ruskin's work has enraged feminists, his thinking was often "Womanly" and not antagonistic to some of the tenets of modern feminism.
In the following essay, Maidment suggests that Ruskin's importance lies in how his ideas have been understood, as well as in his large—but largely unread—oeuvre.
