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The Dryad's Waywardness: Oak Spray in Winter, seen in Front John Ruskin
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Details
- Artist/maker
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John Ruskin (1819 - 1900)
- Object type
- drawing
- Material and technique
- watercolour and bodycolour over graphite on blue wove paper
- Dimensions
- 220 x 267 mm
- Inscription
- Recto, bottom left, in ink: By itself
- 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.266
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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. 074
Ruskin, John, Catalogue of the Educational Series (London: Smith, Elder, 1871), cat. Educational no. XI.6.B
Ruskin, John, Catalogue of the Educational Series (London: Spottiswoode, 1874), cat. Educational no. 266
Penny, Nicholas, Ruskin's Drawings, Ashmolean - Christie's Handbooks (London: Phaidon, 1988), no. 12
Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 282
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. 266
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 B Oak Spray, in Winter. Seen in front. M -
Ruskin's Educational series, 2nd ed. (1874)
266. Oak Spray, in Winter. Seen in front. M -
Ruskin's revision to the Rudimentary series (1878)
Edu. 266 282.The same bough, foreshortened. In work for practice every bough drawn should be thus represented in profile and front; the latter being of extreme importance because the nearest branches of a tree will always be so seen, and in a branch, as in a boat, the more or less foreshortened views are always the prettiest. [The stains on the paper here are intentional; I wanted more shade to throw up the light touches and liked it better irregularly put on]. Both this and the last example were admirably engraved by Mr. Armitage in Modern Painters.
