The Stones of Venice

Ruskin, John

doi:10.1017/cbo9780511696145.003

Cited by 28 publications

(36 citation statements)

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“…23 During the early 1850s Ruskin developed his ideas on the redemptive effects of unconfined creativity in artistic labour and the Working Men's College, where he taught, was an important forum for communicating such ideas to artisans. 24 One of the co-founders of the Working Men's College, Frederick J. Furnivall, requested permission to reprint 'The Nature of Gothic' chapter from The Stones of Venice for working-class readers. 25 Like Ruskin, Brown was challenged by the need to balance the rival commercial and humanist demands for industrialized productivity and creative freedom, respectively.…”

Section: Brown and Artisanal Educationmentioning

confidence: 99%

Fostering in the People the Purest Types of Beauty: Ford Madox Brown and Democratic Art Education

Potter

2014

Visual Culture in Britain

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This article explores Ford Madox Brown's contribution to art education in Britain. Brown adapted his own student experience of continental academies (Bruges, Ghent and Antwerp) to inform his practical tuition of artists in his studio at home and at independent artisanal schools, while responding to contemporary intellectual fashions to draft his Cambridge Slade Professorship application and public lectures. His misgivings about both the Royal Academy Schools and Government Schools of Design manifested itself in his desire to cultivate taste in all classes of Britons, and balance the commercial requirements of manufacturing industry with the learning needs of individuals in society.The contribution made by Ford Madox Brown to art education in Britain has received scant attention from historians. Brown entered into this field at a crucial time, for not only had the Select Committee of Arts and Manufactures (1835-6) resulted in the new Government Schools of Design (the first of which opened at Somerset House in 1837), but also the advent of illustrated art literature for a mass readership represented a new 'pictorial turn'. The demand for educating the working classes potentially promised 'a kind of democratic victory for aesthetics' in the early 1840s. 1 Victorians were mindful of the relationship between vision and learning, for, as P. G. Hamerton observed in the Art Journal in 1866, 'What men will see is determined beforehand by very complex conditions of faculties, experience, and education' and furthermore artistic education offered a special depth of knowledge for 'the difference between artistic sight and ordinary sight is occasioned by the fact that mankind generally do not look for those truths and qualities which artists look for'. 2 Working-class interest in educational self-improvement was fuelled by increased access to scientific and cultural texts as eighteenth-century workingmen's libraries were supplemented by Mechanics' Institutes and reading rooms from the 1820s, and public libraries from 1850. 3 While the social engagement of Brown's 'Victorian imagination' can be readily mapped in his artworks, his involvement with democratic developments in art education was an equally important aspect of his vision for an improved society. Brown's educational strategy will be reconstructed here from his classroom practices, his writings and lectures. These promoted liberal principles for art education in a tempered rather than radical Socialist manner, moderated with academic discipline and pragmatic concessions to the industrialized workplace and the receptiveness of the middle classes to reform. Downloaded by [McMaster University] at 07:57 03 February 2015Brown and the Academies Brown's ideas on education were inevitably conditioned by his own youthful experiences. Owing to his family's itinerant lifestyle, Brown received his art training in Belgium. His parents hired an Italian drawing-master who tasked Brown with copying prints, after which he enrolled at the Bruges Academy under Albert Gregorius (1835), th...

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Section: Brown and Artisanal Educationmentioning

confidence: 99%

Fostering in the People the Purest Types of Beauty: Ford Madox Brown and Democratic Art Education

Potter

2014

Visual Culture in Britain

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“…Organised thought on the subject of natural and cultural conservation, however, developed largely in the nineteenth-century Europe and America, with essayists such as John Ruskin (1885), naturalistic philosophers including Henry David Thoreau (1854) and activists such as Frederick Law Olmsted Sr. and his lobbying for the protection of Niagara Falls and Yellowstone (Ranney et al 1990). This surge of thinking influenced many governments to establish agencies mandated to conserve natural resources within parks and reserves, as well as create laws to protect antiquities and valued cultural resources.…”

Section: Heritage Conservation and Sustainable Developmentmentioning

confidence: 99%

Common ground and shared frontiers in heritage conservation and sustainable development: partnerships, policies and perspectives

Pollock-Ellwand

2011

International Journal of Sustainable Development & World Ec

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Heritage conservation and sustainable development share common ground that is not being fully explored by design and planning professionals. This paper examines how innovators in both fields are seeking that common ground by challenging divided approaches to natural and cultural conservation, environmental and economic processes and the treatment of tangible and intangible resources. These divisions are reinforced by traditional institutional and educational structures, as well as polarised worldviews. Creative practitioners in heritage conservation and sustainable development are exploring the potential of new partnerships, comprehensive policies and broader perspectives. These innovations potentially include everything from minor regulatory modifications to much less likely systemic structural shifts in governance and education. If successful, it could result in broader and more effective strategies, providing a shared frontier for both heritage conservation and sustainable development.

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“…His analysis in these terms of the virtues of Gothic architecture, is one of the most consequential texts on design ever written (Ruskin, 1907). He asks his readers to contrast the freely-contrived ornamentation of the Gothic cathedral with the precision-made objects in 'this English room of yours'.…”

Section: Arts and Craftsmentioning

confidence: 99%

Dialectics of design: how ideas of ‘good design’ change

Tomes

Armstrong

2010

Prometheus

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This paper advances a first‐pass theory of change in the styling of objects of domestic utility. It is based on the idea that the expressive potential of design for the maker, the user and the designer exists in tension with other desirable properties of the designed artefact. Respectively these are mass availability, conformity to professionally‐defined ideas of good taste, and the demands of function and marketability. The theory is illustrated by reference to the emergence and subsequent dilution of three design movements; Arts and Crafts, Art Nouveau and certain versions of Modernism.

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The Stones of Venice

Cited by 28 publications

References 0 publications

Fostering in the People the Purest Types of Beauty: Ford Madox Brown and Democratic Art Education

Fostering in the People the Purest Types of Beauty: Ford Madox Brown and Democratic Art Education

Common ground and shared frontiers in heritage conservation and sustainable development: partnerships, policies and perspectives

Dialectics of design: how ideas of ‘good design’ change

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