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Drawing of the Background of Raphael's "Virgin and Child with the Infant Saint John" (The "Madonna del Cardellino") John Ruskin
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Details
- Artist/maker
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John Ruskin (1819 - 1900)after Raphael (1483 - 1520)
- Object type
- drawing
- Material and technique
- watercolour and bodycolour with scratching out over graphite on wove paper
- Dimensions
- 376 x 289 mm (sheet); 381 x 290 mm (mount)
- Inscription
- Recto, top left, in graphite: p. 205. second vol
On the back of the mount:
bottom right, the Ruskin School's stamp
just below, in graphite (recent): ? E 269
- Provenance
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Presented by John Ruskin to the Ruskin Drawing School (University of Oxford), 1875; transferred from the Ruskin Drawing School to the Ashmolean Museum, c.1949.
- No. of items
- 1
- Accession no.
- WA.RS.ED.269
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Subject terms allocated by curators:
Subjects
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References in which this object is cited include:
References
Taylor, Gerald, ‘John Ruskin: A Catalogue of Drawings by John Ruskin in the Ashmolean Museum, Oxford’, 7 fascicles, 1998, Oxford, Ashmolean Museum, no. 023
Ruskin, John, Catalogue of the Educational Series (London: Smith, Elder, 1871), cat. Educational no. XI.6.E
Ruskin, John, Catalogue of the Educational Series (London: Spottiswoode, 1874), cat. Educational no. 269
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 298
Ruskin, John, ‘The Ruskin Art Collection at Oxford: Catalogues, Notes and Instructions’, Edward T. Cook and Alexander Wedderburn, eds, The Works of John Ruskin: Library Edition, 39 (London: George Allen, 1903-1912), 21, cat. Educational no. 269
Location
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- Western Art Print Room
Position in Ruskin’s Collection
Ruskin's Catalogues
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Ruskin's Educational series, 1st ed. (1871)
6 E Study from Raffaelle’s background to the Madonna of the Tribune. M -
Ruskin's Educational series, 2nd ed. (1874)
269. Study from Raffaelle’s background to the Madonna of the Tribune. M -
Ruskin's revision to the Rudimentary series (1878)
298.This Drawing, made long ago with extreme care from part of the back-ground of Raphael’s Madonna in the Tribune of Florence, is valuable as representing, far more accurately than any extant engraving, the real grace of Raphael’s stem-lines, though impossibly slender; and the variety of shape in touch by which he expresses Leaf-character. Every one of the clusters here was copied touch for touch, and, I think, with considerable accuracy.
