John Ruskin Research Papers - Academia.edu (original) (raw)

2025, Book Review of The Year that Shaped the Victorian Age: Lives, Loves and Lettres of 1845 by Michael Wheeler

Michael Wheeler’s The Year that Shaped the Victorian Age: Lives, Loves and Letters of 1845 is a fascinating and insightful exploration of how open and private letters connected to key events of this calendar year reveal a new way to consider studies of the Victorian era. Wheeler’s grasp of the politics, literature, relationships, movements, and questions of 1845 are vastly impressive, and are conveyed to the reader in thematically organized sections that progressively build upon one another. Wheeler skillfully weaves his argument and reflects on previous chapters to highlight connections while transitioning to new analyses to maintain a united purpose: to demonstrate how public and private correspondence of 1845 reveals a society grappling with change, crises, and reform. As Dickens’s biographer John Forster wrote, it was “that prodigious year of excitement and disaster” (qtd. in Wheeler 8).

2025

We include the table of contents for the entire dissertation, the complete Works Cited for the dissertation, and have placed all notes as endnotes in the excerpt.

2025, MDCCC 1800

This article analyses how Ruskin's texts were interpreted in Spanish architectural restoration, especially during the 1980s. Ruskin's influence impacted early twentieth-century Spanish culture, but it was forgotten during Franco's regime. Ruskin's ideas resurfaced in the democratic 1980s. Spanish theorists like Antón Capitel and Ignasi de Solà-Morales, among others, reinterpreted Ruskin's principles to shape their theories, recognizing his influence in notable Spanish architectural achievements of the time.

2025, English Literature

The essay offers an analysis of John Ruskin's 1884 lectures on The Storm-Cloud of the Nineteenth Century, focusing on his notions about the phenomenon of the storm-cloud, his careful recording of its occurrence in various parts of England since the 1870s, and his search for its causes and meaning. Even though in the eyes of his contemporaries the arguments expounded by Ruskin might have sounded confused, and devoid of scientific logic, his concern was genuine, and his climate observations and notions, albeit lacking the scientific explanation of the phenomenon, were correct insofar as they attributed the presence of the black malignant cloud to man's perverse management of nature and its resources. Such condition, mainly dating from the rise of the Industrial revolution, has earned the name of Anthropocene, thus defining the era in which the human impact on Earth has reached critical levels. Ruskin's lectures can be read as an early foray in cultural climatology, he being a fellow in ecocriticism, a protoenvironmentalist, very much alert to men's moral responsibility towards nature. In addition, the essay focuses on Ruskin's critique of scientific language, and on the apparent contradictions marking his discourse, as the most remarkable aspect of his analytical procedure. Such aporias led to a significant widening of the epistemic horizon, where nothing, including science and chemistry, prophecy and passion, religion and myth, would be lost or undervalued.

2025

How does artistic experience evoke an ethical responsibility through Heidegger? This is a shorter version of the attempted concept "hermeneutic redintegration".

2025

El objetivo de esta comunicacion es analizar las diversas investigaciones que se han desarrollado durante los ultimos anos sobre la Hermandad Prerrafaelita y el Mercado del Arte. Pondremos de manifiesto el objetivo de cada una de ellas y sus correspondientes aportaciones historiograficas. Ademas, comprobaremos si en algun momento se han realizado investigaciones que aunen ambos temas. The aim of this article is to analize the different investigations which have been developed the last few years about the Pre-Raphaelite Brotherhood and the Art Market. We will pay attention to the aims of each one and their contribution to the historiography related with each academic field. In addition, we can check if there is any work in which both topics have been linked.

2025

This chapter is dedicated to one of the most peculiar phenomena of the Leningrad underground: "Gazanevshchina," or "Gaza-Nevskii culture," which was triggered by two o cially approved exhibitions in 1974-1975. Contrary to the expectations of the authorities, the exhibitions attracted broad public interest. Although the Gazanevshchina movement declined shortly after the two events, it brought about a meaningful moment of public recognition of the uno cial art against the backdrop of the system's violence. This chapter explores the political and cultural context in which the Gaza-Nevskii movement came to life, as well as its in uence on the subsequent development of the late Soviet underground. It also shows how a long period of apartment exhibitions and occasional vernissages in cultural centers and research institutes paved the way for the breakthrough of Gazanevshchina.

2025, Plume

This study explores how the "Innocent Eye" theory—first introduced by
John Ruskin and later developed by Clement Greenberg—explains the
ways spectators perceive literature and contemporary art. To frame this
inquiry, it is essential to first define the concept of the "spectator" and
identify its key characteristics. As our research has progressed, it has
become evident that the "Innocent Eye" theory has been subject to
significant philosophical critique, most notably by Arthur Danto, who
challenged its foundational presuppositions. Our findings emphasize
that spectators’ perception is never entirely neutral or "innocent," as
stated by the theory. It is always prone to bias, as individual responses to
images and objects are inevitably influenced by factors such as gender,
ethnicity, age, and geographical background. The study offers a
convincing rejection of the 'Innocent Eye' theory, demonstrating that
perception is inherently subjective. Within the context of contemporary
aesthetics, virtually any object or image can be interpreted as an artwork,
depending on the spectator's internalized perspectives and experiences.

2025, Plume

Dans cette recherche, la question essentielle est d’évaluer le rôle du spectateur dans le processus de la réception d’une œuvre contemporaine, qu’elle soit littéraire ou artistique, du point de vue de la théorie de « l’œil innocent », présentée par John Ruskin puis développée par Clement Greenberg. Il est de ce fait important de savoir qui est aujourd'hui considéré comme spectateur en général et quelles sont ses principales caractéristiques. Au fur et à mesure de cette recherche, l'idée de la théorie de « l’œil innocent » récemment analysée contestée et critiquée par Arthur Danto d'un point de vue philosophique, est mentionnée. Il est impossible de ne pas considérer l'aptitude intériorisée de réagir au moment de la réception des images, même lorsqu’il s’agit d’objets réels. La perception des objets ou des images est différente chez les individus. Elle est due aux divers facteurs tels que le sexe, la racine ethnique, l'âge, la localisation géographique, etc. des êtres humains. Danto l’affirme à propos de Ruskin, somme toute, nous pouvons rejeter entièrement la théorie de Ruskin et Greenberg et il est possible de soutenir qu'une telle chose n'existe pas et il est évident qu'aujourd'hui n'importe quoi peut devenir œuvre.

2025, «Graphie. Rivista trimestrale di arte e letteratura»

Il contributo analizza il soggiorno ravennate del pittore John Wharlton Bunney, strettamente legato John Ruskin e ad alcuni membri della Confraternita preraffaellita, in particolare William Holman Hunt. Nel 1874 Bunney trascorse cinque... more

2025, Bloomsbury Academic

2025, Principais autores e suas teses a respeito do restauro arquitetônico nos sécs. XIX e XX

"Principais autores e suas teses a respeito do restauro arquitetônico nos sécs. XIX e XX" Alunas: Bárbara Dias e Fernanda Tito Turma: AM6AU Disciplina: Preservação do Patrimônio Histórico da Arquitetura, do Urbanismo e do Paisagismo... more

2025, The Cambridge History of the British Essay

This chapter explores the relationship of the adult essay with the ‘theme’, which was the name for school-essays until the mid-19th century. Themes were, mostly, short prose pieces, focussed on a moral subject which was also called a theme, written almost exclusively in Latin until English themes began to emerge in the late eighteenth century. The chapter argues that in the nineteenth century, the modern pedagogical essay emerged out of the Erasmian theme, combining many of its structures with the Baconian essay’s priority on individual experience and ideas. Meanwhile, the Romantic essayists, Charles Lamb and Leigh Hunt, chief among them, created the modern literary essay by carrying forward the priority the theme assigned to rhetoric over experience, while on the other hand imitating Montaigne’s play with the oratorical structures of the theme, and with its subject (also called a ‘theme’).

2025, Words for design II : comparative etymology and terminology of design and its equivalents比較デザイン論研究Ⅱ

2025, Expressive Curvature

Smooth curves are ubiquitous in decorative art and architecture. They also occur throughout nature. This master's dissertation argues that humans have evolved to have an aesthetic preference for continuously varying curves (as opposed to simple curves including the circle, trigonometric curves, the parabola or the hyperbola), giving examples from the output of artists through the ages.

2025, Vetusta Monumenta

This essay explores the visual and material mediation of Lincoln Cathedral through the engraved plates of Vetusta Monumenta, the long-running publication series of the Society of Antiquaries of London. Focusing on the collaboration... more

2025

The advent of photography added a new dimension and class for the creation of extra illustrated publications. Photographs enabled the enhancement of the content, personal relevance, aesthetics, and popular cultural norms of the original publication. The results were unique customized volumes. This practice of photographic embellishment transformed the publication into a curated visual archive, reflecting the personal interests of the owner. This class ran in parallel with the rise of commercial photographically illustrated publications.

2025, English Literature

The Alps captivated John Ruskin, inspiring an enduring intellectual quest that spanned his lifetime. Through his diaries and seminal texts like Fors Clavigera, Ruskin's profound spiritual admiration for the alpine landscapes emerges, challenging both the recreational and utilitarian perspectives prevalent in his era. This article contrasts the differing approaches of British and German mountaineers during the Victorian period, showcasing how Ruskin's perspective transcended the prevailing attitudes of his time. It also examines the influence of his philosophy on mountain aesthetics, particularly noting how it inspired artists like Elijah Walton to integrate naturalism with Romantic expressionism, reflecting a deep engagement with the beauty of creation. The article transitions to consider the cultural shift from Ruskin's intellectual veneration to Leslie Stephen's embodied interaction with mountains, offering a nuanced critique of how tourism and commercial endeavours have lessened their majesty. Additionally, the paper explores Ruskin's influence on Reginald Farrer's theory that mountains embody a unique spiritual psychology, broadening the discussion to encompass the interconnectedness between the physical and the spiritual realms. Overall, this contribution offers a contemplative exploration of John Ruskin's profound influence on the appreciation of mountain landscapes, set against the evolving practices of Victorian and German mountaineering.

2025, Paul Klee: Jahre der Meisterschaft: 1919-1933

Paul Klee used frequently his own art to create other works in their own right. As he catalogued his works from early on, he established links between his drawings, the resulting transfer watercolors and paintings.

2025

A paper in French on John Ruskin's summer in the Alps in 1849 and the genesis of 'Modern Painters IV', focusing on his unpublished diary to show how he worked dialogically to establish correspondences between geology and art. This paper was presented at the 49th Congress of the Société Savantes de Savoie, Chamonix, 20 October 2024, and is forthcoming in their conference proceedings.

2025, Teorema: Revista internacional de filosofía

This paper puts forward an analysis of Santayana's philosophy of language within the conceptual frame of his aesthetics. Santayana sees language as the highest achievement of the creative capability of mankind. For him the main function of language is to put an order in the chaos of phenomena, giving them so the possibility for being understood, expressed and communicated. In the end, the structure of the language is a mirror of the structure of the universe, thus placing it in the realm of being and essences. Even more, language somehow vitiates and enriches experience, since through its images, syntax and the musicality of sounds, it opens up new horizons that may not have existed in the original objects that initiated them. This is the supreme function of poetic language, two steps ahead from the pure symbolism of mathematics and the utilitarianism of everyday common prose. En este artículo se propone un análisis de la filosofía del lenguaje de Santayana dentro del marco conceptual de su estética. Santayana ve el lenguaje como la realización más elevada de la capacidad creativa del hombre. Para él la principal función del lenguaje es poner orden en el caos de los fenómenos, dándoles así la posibilidad de ser comprendidos, expresados y comunicados. Al fin, la estructura del lenguaje refleja la estructura del universo, al que sitúa en el reino del ser y las esencias. Más aún, el lenguaje vicia y enriquece la experiencia pues, a través de las imágenes, la sintaxis y la musicalidad de los sonidos, abre unos horizontes nuevos que tal vez no estuvieran en los objetos originales que los iniciaron. Ésta es la función suprema del lenguaje poético, dos pasos más allá del puro simbolismo de las matemáticas y del utilitarismo de la prosa común. La discusión sobre el lenguaje y las teorías de Santayana sobre la poesía y la prosa son, quizás, lo más original de Reason in Art, como escribe McCormick [McCormick (1987), p. 158]. En este sentido, hay que destacar el hecho de que Santayana escribe estas páginas, precisamente, en el libro que dedica a la filosofía del arte en The Life of Reason. Esto quiere decir que el pensamiento sobre el lenguaje ha de situarse dentro de su visión general de la estética. Del mismo modo que la obra de arte expresa lo concreto en una forma universal, así el lenguaje aprisiona la experiencia individual dándole una NOTAS

2025

In «Modernismo: memoria, mito, narrazione, Atti delle Rencontres de l’Archet Morgex, 12-17 settembre 2022», Lexis, Torino 2025, pp. 96-104. Il saggio presenta un'ipotesi interpretativa su episodi topici della Recherche in chiave... more

2025

La artesanía es aquella producción de bienes materiales mediante el uso de habilidades manuales y una cierta tradición y forma. El artesano, por lo tanto, es la persona encargada de llevar este proceso a cabo. Encontramos a estos artistas en una gran variedad de sectores, ya sea la cerámica, la alfarería, la creación de instrumentos, o hasta la creación de joyas únicas. Estos profesionales tienen un gran recorrido en la historia, pues los podemos ubicar desde los comienzos de la humanidad, no se sabe exactamente su fecha de inicio, sin embargo, es desde la prehistoria que tenemos consciencia de los artilugios y objetos hechos manualmente. Años después, la artesanía se convertiría en algo a lo que todo el mundo querría acudir, donde encontrarían productos únicos y de alta calidad, marcando tendencias y siendo un gran propulsor de la economía y de la cultura.

2025

The article explores the evolution of the discourse of taste during the XVIII and XIX centuries, adopting the categories of pure and impure as paradigmatic keys to the subject. Reynolds’ standards of aesthetic judgement, and the voices of Hogarth and Richard Payne Knight, mark the drive towards taste as subjective response. Thus young Marianne Dashwood can judge whether Edward Ferrars’ taste is pure or impure. Taste, despite Hazlitt’s warnings, becomes synonymous with fashion, and fashion is an impure element, conditioned by new technologies, allowing the manufacture of endless replicas from original art works. The Great Exhibition is the pivotal event that consecrates the productions of industry, commerce and art. Such triangulation thrives on the scientific progress of chemistry, which presides over the offer of new materials, colours, printing techniques, Parian marble, electroplated metal, allowing all kinds of cheap imitations. John Ruskin comments upon the triumphant progress ...

2025, oiirj (Online International Interdisciplinary Research Journal)

In this paper, we will see how John Ruskin achieves and spread his influence on the world in short period of time since his young age through his art and literary criticism. Though he was the best artist in the 19 th century, he used his artistic knowledge for the art criticism of other painters, which was beneficial or may not be for some of the painters, few of them got the publicity due to Ruskin"s work due to positive or negative feedback written in Ruskin"s literature.Recurring themes from his work illustrated about nature, society, and God. Due to Ruskin"s literary work about industrialization, politics, and craftmanship, labourers and workers got the benefit in their wages as well as in social life. Also, famous personalities like Mahatma Gandhi footprinted Ruskin"s knowledge in their century for societal progress. Ruskin was truly philanthropist, author of modern generation, and he was expert and touched all areas in this world through his literary work. Though he was criticised for his criticism work, his work was commendable and appreciable.

2025, Слюнькова И.Н. «Колодец с горгульей» и принцип гиперцитации в архитектуре Ливадийского дворца // Художественная культура. 2024. № 2. С. 322–339. https://doi.org/10.51678/2226‐0072‐2024‐2‐322‐339.

The article is devoted to studying the circumstances that served as the basis for the quotation of the original composition installed during the restoration of the Vincigliata Castle near Florence (1860s) in the sculpture A Well with a Gargoyle in the Livadia Palace. A comparative analysis of the copy and the original leads to the problem of hyperquotation in the work on the project of the imperial residence in the Crimea (1909–1914). For the first time, the article publishes the photographs of the historical courtyard of the Vincigliata sculptures from the State Historical Museum funds (Moscow) and the view of the Livadia well from the architect N.P. Krasnov’s author album from the funds of the Research Library under Russian Academy of Arts (Saint‐Petersburg). / Статья посвящена исследованию обстоятельств, послуживших основанием для прямого повторения в скульптуре «Колодец с горгульей» Ливадийского дворца оригинальной композиции, установленной при реставрации замка Винчильята близ Флоренции (1860‐е). Сравнительный анализ копии и оригинала подводит к проблеме метода гиперцитации в работе над проектом императорской резиденции в Крыму (1909–1914). Впервые публикуются фотографии исторического двора скульптур Винчильята из фондов Государственного исторического музея (Москва) и вид колодца Ливадии в авторском альбоме архитектора Н.П. Краснова из фондов Научной библиотеки Российской академии художеств (Санкт‐Петербург).

2025, Un fraintendimento?

La presenza di John Ruskin in Lucchesia il fondatore dei preraffaelliti la macchia di colore chiaro scuro la simbologia ottocentesca e un soggetto Teseo e il Minotauro che potrebbe aver fuorviato il Ghirardini che lo attribuisce al Pig Painter e addirittura il Cristofani de 'L'oro degli Etruschi' '83 con i ricchi orecchini a bauletto spilli a pigna e altre gioiellerie in un tema che fu anche di Picasso

2025, MDCCC 1800

The journal 'MDCCC 1800', founded in 2012 by Martina Frank, Elena Catra, Isabella Collavizza, Myriam Pilutti Namer and Letizia Tasso, serves as an international forum for discussion and debate on architecture and the arts in the period between the late 18th and early 20th century, which the historian Eric Hobsbawn has defined as the ‘Long 19th Century’. As a seminal period of recent history, the ‘Long 19th Century’ has seen the reinterpretation, investigation and exploration of countless architectural and artistic styles of the past, as well as the emergence of disruptive events such as the development of neoclassicism and the emergence of the 20th century avant-garde. In an interdisciplinary and cross-cultural perspective, the journal annually publishes, in the major European languages (Italian, Spanish, French, German, English, Portuguese) one issue in December, mainly focusing on original research that delves into topics concerning the intertwining between the arts in the European and global context of the ‘Long 19th Century’.

2025

John Ruskin, Viktorya dönemi İngiltere'sinin en önemli sanat eleştirmenlerinden biri olmasının yanında, sanat hamisi, suluboya ressamı ve sosyal kuramcılarından birisidir. Jeolojiden, mimariye, edebiyattan, eğitime, botanikten, politik ekonomiye kadar birçok farklı alanda yazılar kaleme almıştır. Ruskin'in yazı biçimi ve edebi formları da aynı ölçüde çeşitlilik gösterir. Gezi yazıları, klavuzlar, mektuplar, şiirler, bilimsel ve akademik makaleler hatta bir peri masalı bile yazmıştır. Bununla beraber yazın hayatının olgunluk döneminde mesajını en etkin biçimde aktarmayı amaçlayan daha sade ve anlaşılır bir dil kullanmayı tercih etmiştir. Ruskin'in bütün yazıları doğa, sanat ve toplum arasındaki bağlantıları vurgulayan bir ana çerçeveye oturur. 19. yüzyılın ikinci yarısından, I. Dünya Savaşı'na kadar olan süre içinde Ruskin, düşünce dünyasına muazzam etkileri olan önemli bir isimdi. William Turner'ın doğaya ve resme yaklaşımından fazlasıyla etkilenmiş olan Ruskin; Pre-Raphaelist'lere de sonuna kadar sahip çıkmış ve desteklemiştir. Bu durum başta Empresyonizm olmak üzere, sonrasında gelişen akımlara da ilham vermiştir. 1900'deki ölümünün ardından 1960'lara gelene kadar unutulmaya yüz tutan Ruskin düşüncesi, 1960'lardan itibaren yazın ve akademi çevrelerinde daha sağlam bir zemine oturdu. Günümüzde Ruskin düşüncesi, sanat ve zanaat alanlarında olduğu kadar, ekoloji, sürdürülebilirlik, politik iktisat gibi farklı disiplinlerde kabul edilmekte ve referans kaynağı olarak kullanılmaktadır.

2025

Este trabalho propoe-se a estudar e apresentar a etica, a estetica e as tecnicas do Restauro praticadas no Brasil por Edson Motta durante pelo menos 30 anos. Motta ja era um pintor conhecido quando ingressou, em 1944, no Servico do Patrimonio Historico Artistico Nacional e, em 1946, foi enviado pelo governo brasileiro aos Estados Unidos com a finalidade de se formar Conservador\Restaurador no Fogg Museum, Universidade de Harvard. Como o primeiro brasileiro com formacao profissional academica em Restauro, retornou ao Brasil em 1948, com a responsabilidade de salvaguardar o Patrimonio Historico e Artistico Brasileiro e, apos seu regresso, foi enviado, pelo Servico do Patrimonio Historico e Artistico Nacional (Sphan), a diversas cidades do estado de Minas Gerais para preservar os interiores decorados das igrejas barrocas daquela regiao. Embora sua formacao academica tenha sido direcionada, exclusivamente, para a conservacao de pinturas de cavalete, ele usou sua criatividade e habilidad...

2024, 'More than a Passing Observation': William Louis Sonntag and Landscape Mania in the United States

Written to accompany an exhibition in 2022-2023, this catalog offers an introductory essay to the art of William Louis Sonntag. The catalog considers Sonntag in his local context and within the evolving practices of the American Landscape School. The essay also considers the relationship between Sonntag and Robert S. Duncanson, who shared a studio with Sonntag.

2024, Journal of Artistic Creation and Literary Research

Carmen Maria Machado’s autobiographical memoir In the Dream House (2019) addresses, in the form of an inventive narrative, domestic abuse in lesbian relationships. In this collection of small chapters, the author describes a total of 141 of her own experiences as a victim of Same-Sex Intimate Partner Violence as, for her, “the Dream House was never just the Dream House” (Machado 2019, 76). This paper will examine how Machado challenges stereotypes, sheds light on the complexity of abuse dynamics, and contributes significantly to the discourse on domestic violence, particularly within the LGBTQ+ community, debunking the myths around the idea that lesbian relationships are idyllic.

2024, The Journal of Modern Craft

She holds a PhD degree in architectural design from Dokuz Eylül University, a Masters degree in architectural design from Istanbul Technical University, and a Bachelors degree in architecture from Dokuz Eylül University.

2024

William Morris, 1834-1896, artiste britannique engagé aux côtés des socialistes, voulut offrir à ses lecteurs une vision de la société différente de celle qu'ils vivaient dans l'Angleterre de 1890. Il eut l'idée de publier une utopie car il était très admiratif du roman Utopia de St Thomas More 1 et était convaincu de l'importance de son message pour les socialistes du XIX e siècle :

2024, Victorian Environmental Nightmares

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and... more

2024

For the Australasian Society for Continental Philosophy 2024

2024, Les paysages de la nostalgie dans l'Europe du XIXe siècle

À l’automne 1850, William Holman Hunt, John Everett Millais et Dante Gabriel Rossetti se rendirent dans le Kent, à Knole Park, pour aller peindre sur le motif, en plein air. Dans ses mémoires, Hunt décrit la méthode quasi-scientifique qu’il adopte pour retranscrire les éléments du paysage : « directly and frankly, not merely for the charm of minute finish, but as a means of studying more deeply Nature’s principles of design, and to escape the conventional treatments of landscape backgrounds » .
La Confrérie Préraphaélite est fondée en 1848 par sept peintres et écrivains. Ils commencent par disséminer leurs idées dans un périodique publié entre janvier et avril 1850, édité par William Michael Rossetti. C’est un échec commercial, mais le magazine fait office de manifeste de la part de la Confrérie Préraphaélite et de leurs associés. Le titre est évocateur : The Germ, la graine. Il évoque l’environnement naturel mais c’est aussi une métaphore de la création artistique, la façon dont les idées germent parmi les membres de la Confrérie.
Ces idées font écho aux mutations ambiantes qui affectent profondément la géographie des îles britanniques au dix-neuvième siècle. La révolution industrielle transforme les territoires, provocant un exode rural et la détérioration de nombreux espaces naturels. Les préraphaélites mettent en valeur des sites reconnaissables, mais idylliques à leurs yeux, car préservés de l’urbanisation massive. Ils privilégient des sites locaux, près de la capitale. Paradoxalement, c’est le développement du chemin de fer, réduisant leur temps de déplacement, qui leur permet d’avoir accès à la campagne.
Leurs paysages sont également influencés par l’engouement pour les sciences naturelles, comme la biologie ou la géologie. Cette transcription minutieuse de l’environnement naturel évoluera vers une représentation plus stylisée des éléments végétaux, notamment à travers la pratique artisanale de l’entreprise Morris & Co, nostalgique d’un Moyen-Âge fantasmé.

2024

Gli autori sono a disposizione di quanti, non rintracciati, avessero legalmente diritto alla corresponsione di eventuali diritti di pubblicazione, facendo salvo il carattere unicamente scientifico di questo studio e la sua destinazione non a fine di lucro. Conoscenza, conservazione e valorizzazione del patrimonio architettonico Rivista del Dipartimento di Architettura dell'Università degli Studi di Firenze Knowledge, preservation and enhancement of architectural heritage Journal of the Department of Architecture University of Florence Cover photo John Ruskin, Column bases, doorway of Badia, Fiesole. 1874. Pencil, ink, watercolour and bodycolour.

2024, in: exh. cat. Jac. van den Bosch, 1868-1948, Assen (Drents Museum)/ Eindhoven (Museum Kempenland), 14-43.

Jac. van den Bosch as theoretician in the footsteps of Ruskin, Morris and Crane.
Jac van den Bosch (1868-1943), designer of interiors, furniture, carpets and other household items, can be considered a key figure in the Dutch arts and crafts movement circa 1900. He was chairman of the association VANK (Nederlandse Vereniging voor Ambachts- en Nijverheidskunst/ Dutch Association for Arts and Crafts) and a close associate of H.P. Berlage in the management of ‘t Binnenhuis, the cooperative company for interior design.
He published widely, and his views were strongly inspired by English thinkers such as John Ruskin, Willam Morris, and Walter Crane, especially regarding their ideas on the place of art and craft in society. His own designs for home interiors were also strongly inspired by English examples.

2024

RA | restauro archeologico Conoscenza, conservazione e valorizzazione del patrimonio architettonico Rivista del Dipartimento di Architettura dell'Università degli Studi di Firenze Knowledge, preservation and enhancement of architectural heritage Journal of the Department of Architecture University of Florence Cover photo John Ruskin, Column bases, doorway of Badia, Fiesole. 1874. Pencil, ink, watercolour and bodycolour.

2024, The Journal of Modern Craft,

Alice Austin (1862–1933) worked as a professional photographer in Boston from 1900 until 1933. She joined Alfred Stieglitz’s Photo-Secessionists group in 1905 and worked as a committee member at the Boston Society of Arts and Crafts for... more

2024, International journal of humanities and social sciences

Architecture morphs with advances in technology and the roof, wall, and floor as basic elements of a building, follow in redefining themselves over time. Their contribution is bound by time and held by design principles that deal with function, sturdiness, and beauty. Architecture engages with people to give joy through its form, material, design structure, and spatial qualities. This paper attempts to re-interpret John Ruskin's "Seven lamps of Architecture" in the context of the architecture of the modern and present period. The paper focuses on the "wall" as an element of study in this context. Four of Ruskin's seven lamps will be discussed, namely beauty, truth, life, and memory, through examples of architecture ranging from modernism to contemporary architecture of today. The study will focus on the relevance of Ruskin's principles to the "wall" in specific, in buildings of different materials and over a range of typologies from all parts of the world. Two examples will be analyzed for each lamp. It will be shown that in each case, there is relevance to the significance of Ruskin's lamps in modern and contemporary architecture. Nature to which Ruskin alludes to for his lamp of "beauty" is found in the different expressions of interpretation used by Corbusier in his Villa Stein façade based on proportion found in nature and in the direct expression of Toyo Ito in his translation of an understanding of the structure of trees into his façade design of the showroom for a Japanese bag boutique. "Truth" is shown in Mies van der Rohe's Crown Hall building with its clarity of material and structure and Studio Mumbai's Palmyra House, which celebrates the use of natural materials and local craftsmanship. "Life" is reviewed with a sustainable house in Kerala by Ashrams Ravi and Alvar Aalto's summer house, which illustrate walls as repositories of intellectual thought and craft. "Memory" is discussed with Charles Correa's Jawahar Kala Kendra and Venturi's Vana Venturi house and discloses facades as text in the context of its materiality and iconography. Beauty is reviewed in Villa Stein and Toyo Ito's Branded Retail building in Tokyo. The paper thus concludes that Ruskin's Lamps can be interpreted in today's context and add richness to meaning to the understanding of architecture.

2024, The Study of Art History

A revised, English version of my article, "Zwischen Darstellung und Parodie: Klees 'auratische Bilder' " (2000), published in English and Chinese translation in the journal, The Study of Art History, vol. 1, no. 3. This preceded and differs in part from "' 'Abstract with Memories': Klee's 'Auratic' Pictures," (2012). All three versions are available on Academi.edu.

2024, Images of the Earth

This essay examines the visual vocabularies employed by geologists in the Victorian era as well as the impact of new discoveries in geology on Landscape Painting.

2024, Exh. cat. Industry and design in the Netherlands 1850-1950, Amsterdam (Municipal Museum) 1985/'86, 31-43

Also edited in a Dutch version:
'Theorie versus praktijk. De invloed van Engelse socialistische idealen op de Nederlandse kunstnijverheidsbeweging', in: cat. tent. Industrie & Vormgeving, Amsterdam (Stedelijk Museum) 1985, 31-43.