The Works of John Ruskin, Volumen3

Portada
G. Allen, 1903
Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin's writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen's Library Edition of the Works of John Ruskin. Volume 39, general index.
 

Contenido

Form as explained by light and shade the first of all truths Tone light and colour are secondary
2
But are received from whatever has been the subject of power
3
The principles of selection adopted by modern artists
4
General feeling of Claude Salvator and G Poussin contrasted with the freedom and vastness of nature
5
Inadequacy of the landscape of Titian and Tintoret
6
Causes of its want of influence on subsequent schools
7
The value of inferior works of art how to be estimated
8
AT WORK ON MODERN PAINTERS VARIOUS DATES JANUARYMAY xxix
9
A VISIT TO TURNER MAY
15
PAGE
58
PAGE
68
583
74
The meaning of the word excellence
95
What is necessary to the distinguishing of excellence
96
The pleasure attendant on conquering difficulties is right
97
OF IDEAS OF IMITATION 1 False use of the term imitation by many writers on art
99
Real meaning of the term
100
The pleasure resulting from imitation the most contemptible that can be derived from art
101
Imitation is only of contemptible subjects
102
Recapitulation
103
Meaning of the word truth as applied to art
104
Third difference
105
Ideas of truth are inconsistent with ideas of imitation
108
OF IDEAS OF BEAUTY 1 Definition of the term beautiful
109
Definition of the term taste
110
The high rank and function of ideas of beauty
111
OF IDEAS OF RELATION 1 General meaning of the term
112
The exceeding nobility of these ideas
114
OF THE SUBLIME
128
But the cases in which those principles have been strikingly
156
165
165
Religious landscape of Italy The admirableness of its com pletion 10 Finish and the want of it how rightand how wrong
176
The open skies of the religious schools how valuable Moun tain drawing of Masaccio Landscape of the Bellinis and Giorgione 12 Landscape of Titia...
179
NOTES OF CONVERSATIONS
187
212
376
They are subject to precisely the same great laws
395
The old masters have not left a single instance of the painting of the raincloud and very few efforts at it Gaspar Poussins storms
396
The great power of the moderns in this respect
397
Copley Fielding
398
His weakness and its probable cause
399
Impossibility of reasoning on the rainclouds of Turner from engravings
400
Moment of retiring rain in the Llanthony
402
The drawing of transparent vapour in the Lands End
404
Swift raincloud in the Coventry
405
Entire expression of tempest by minute touches and circum stances in the Coventry
406
Especially by contrast with a passage of extreme repose
407
Success of our watercolour artists in its rendering Use of it by Turner
408
Expression of near raincloud in the Gosport and other works
409
Turners power of rendering mist
410
Turners more violent effects of tempest are never rendered by engravers
412
The storm in the Stonehenge
414
Sketch of a few of the skies of nature taken as a whole com pared with the works of Turner and of the old masters
415
Noon with gathering storms
416
Sunset in tempest Serene midnight
417
And sunrise on the Alps
418
Beauty of mountain foreground 23 De Wint
445
Average paintings of Switzerland Its real spirit has scarcely
449
The fidelity of treatment in Turners Daphne and Leucippus
462
OPINIONS
477
APPENDIX
494
Variety of the greys of nature
534
Relation of various circumstances of past agitation etc by
547
And of surface associated with mist
553
REPLIES TO CRITICISMS OF Modern Painters VOL I
641
PREFACES TO SELECTIONS FROM Modern Painters
677
MINOR Varia Lectiones
685
THE ITALIAN LAKES AND WINDERMERE VOGOGNA JULY
686

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