John Ruskin as a Critic

John Ruskin: A Revolutionary Art Critic (1819-1900)

John Ruskin was one of the most influential art critics of the Victorian era, shaping the art evaluation standards of the 19th century. His personal views on painting, sculpture, and architecture had a profound impact on public taste and the reputations of many Old Masters and their respective art movements. Ruskin favored naturalism, particularly in Venetian painting and works by JMW Turner, and was an avid supporter of Gothic architecture. He opposed Baroque art, deeming it insincere. His writings, such as Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice, underscored the connection between nature, art, and society, and deeply influenced movements like the Pre-Raphaelites and the Arts and Crafts Movement.

Ruskin's Broader Influence and Social Reform

Ruskin's influence extended beyond art criticism; he was also a social reformer, educator, geologist, and advocate for political change. He championed the education of women, conservation of natural landscapes, and the improvement of working-class conditions. Ruskin foresaw the environmental and social dangers of the Industrial Revolution long before they were widely recognized. His ideas promoted welfare reforms in Britain, such as the introduction of a minimum wage, free school meals, and universal healthcare. His advocacy for the preservation of historic buildings and natural landscapes also played a role in the formation of the National Trust.

Truth to Nature: Ruskin's Artistic Philosophy

Ruskin's principle of "truth to nature" encouraged artists to depict the natural world as accurately and sincerely as possible, avoiding Romanticized interpretations. This approach had a significant impact on the Pre-Raphaelite Brotherhood, a group that rejected conventional ideals of beauty and aimed to revive a pre-Renaissance style of painting. Ruskin's ideas about art and nature, coupled with his disdain (contempt, derision) for mass production, also heavily influenced the Arts and Crafts Movement, which sought to revive traditional craftsmanship in the face of industrialization.

The Gothic Revival and Ruskin's Architectural Vision

Ruskin was a fervent supporter of Gothic architecture, which he saw as embodying creativity and sincerity, in contrast to what he considered the moral vacuity of Classical styles. His advocacy influenced a return to Gothic architecture and inspired modern architects such as Le Corbusier and Frank Lloyd Wright. However, he was often disappointed with the results of the Gothic Revival, criticizing mass-produced interpretations that he believed missed the essence of true Gothic craftsmanship.

Religious Influence on Ruskin's Art Criticism

Ruskin's Christian upbringing deeply influenced his belief that beauty and nature were inherently divine. He advocated for a realistic portrayal of religious subjects, arguing that true faith was best expressed through the accurate depiction of nature and the human form. This approach was adopted by the Pre-Raphaelites, who controversially depicted religious figures as ordinary, working-class individuals, challenging the idealized representations common in traditional art.

Ruskin's Socio-Economic Critique in "Unto This Last"

Ruskin's concerns about the socio-economic conditions in industrial England culminated in his work Unto This Last, where he criticized the capitalist system for devaluing human life and labor. Rooted in Christian ethics, his essays emphasized respect, equality, and justice, proposing an alternative vision of political economy. Though controversial at the time and deemed socialist, his ideas later influenced welfare reforms and labor rights movements.

Ruskin's Legacy and the Complexity of His Works

Ruskin's extensive body of work spanned art criticism, geology, political economy, and more. His writings, known for their dense and allusive style, were compiled posthumously into a comprehensive 39-volume collection. Despite their complexity, his writings conveyed his fundamental belief that art should embody and communicate vital truths, both moral and spiritual, reflecting a unity of intellect, emotion, and societal values. His principles and critiques remain influential in discussions on art, architecture, and social reform.

Ruskin's Comprehensive Critique of Art and Architecture

John Ruskin's views on art and architecture were profound, arguing that art is not merely a matter of taste but involves the whole person—feelings, intellect, morals, and knowledge—all concentrated on a single experience. He believed that great art must be founded on facts perceived by the senses and should communicate deeper truths about religion and life. Ruskin's emphasis on organic growth and "felicitous fulfillment of function" in art extended to his societal belief in cooperation, encapsulated in his "Law of Help." He held that art should arise from the enjoyment and freedom of the artist, reflecting a common faith and purpose within society.

The Lasting Impact of Ruskin's Art Criticism

Ruskin's distaste for the standardization associated with industrial capitalism led him to critique modern developments like The Crystal Palace, which he saw as devoid of moral and artistic value. He was dissatisfied with the superficial imitations of Gothic architecture that emerged from his own advocacy. Despite his disappointment with some implementations, Ruskin's ideas profoundly influenced the Arts and Crafts Movement and the preservation of historic architecture. 

As summarized by Kenneth Clark, Ruskin's art criticism defies logical systematization but remains invaluable for its vivid descriptions and profound insights into the relationship between art, morality, and society. Here are his views on art:

1. Art is more than just a matter of taste; it involves the whole person. Whether creating or experiencing art, we use our feelings, thoughts, morals, knowledge, and memories all at once. The idea of "aesthetic man" is as misleading and dehumanizing as the concept of "economic man."

2. Even the most brilliant mind must base its imagination on real facts. Imagination can transform these facts in complex ways, but it should always be grounded in reality, not in abstract theories or illusions.

3. Facts in art should be directly experienced through the senses or felt intuitively, not just learned through study.

4. Great artists and art movements have seen it as their role to reveal important truths, not just about what we see but also about religion and how we live.

5. Beauty in form is shown in things that have grown perfectly according to their natural laws, giving the sense of "fulfilling their function" beautifully.

6. This idea of fulfilling function depends on all parts working together harmoniously. Ruskin called this the "Law of Help," which applies to nature, art, and society.

7. Good art comes from enjoyment. Artists should feel free, valued by society, and confident that the ideas they express are both true and important.

8. Great art reflects times when people share common beliefs and goals, follow their laws, trust their leaders, and take a serious view of life’s purpose.