The Elements of Drawing, John Ruskin’s teaching collection at Oxford

The Elements of Drawing, John Ruskin’s teaching collection at Oxford

Ruskin's Rudimentary series, 5th ed. (1873)

Items marked 'M' are drawings "by my own Hand" (by Ruskin), P are photographs, E engravings and A by Ruskin's Assistant, Arthur Burgess.

Rudimentary 5 Cover

Ruskin's Catalogues: 1 object

Show search help

Search Help

Ruskin assembled a diverse collection of artworks for his drawing school in Oxford, including watercolours by J.M.W. Turner and drawings by Ruskin himself.  He taught students to draw as a way of educating them in how to look at art and the world around them.  

Ruskin divided his Teaching Collection into four main series: Standard, Reference, Educational and Rudimentary. Each item was placed in a numbered frame, arranged in a set of cabinets, so that they all had a specific position in the Collection (although Ruskin often moved items about as his ideas changed). 

When incorporated into the Ashmolean’s collection in the last century, the works were removed from the frames and the sequence was lost.  Here, Ruskin's original catalogues, notes and instructions - in his chosen order and in his own words - are united with images of the works and links to modern curatorial descriptions.

Reference URL

Actions

Send e-mail

Contact us about this object

Send e-mail

Send to a friend

Profile of a Violet Leaf, enlarged John Ruskin

Location

    • Western Art Print Room

Position in Ruskin’s Collection

Ruskin's Catalogues

  • Ruskin's Rudimentary series, 3rd ed. (1872)

    R|278} Profile of violet leaf (enlarged). M.
  • Ruskin's Rudimentary series 4th ed. (1872)

    R|278} Profile of violet leaf (enlarged). M.
    Process B. With pencil on tinted paper, reinforced with white.Example for practice. Study of profile of violet leaf R.278.

    This is the most convenient and rapid mode of chiaroscuro study; all shades below the tint of the paper being carefully worked with the black; and all lights higher than the tint of the paper being as carefully worked with the white: but the method is greatly liable to the abuse of laying the pigment at random on the light.

    Dürer, Mantegna, and other such perfect draughtsmen, lay the light on such studies with a pen or brush line, gradating it as the lines of engraving. This is not an advisable method for the general student, being much too laborious, and requiring consummate skill. But he is to remember that the difference between daubing and painting is in the perfect gradation and intention of his imposed light.

    This study of violet leaf is rudely and imperfectly done, but well enough for example: I wish every student to draw the profiles of every common leaf from nature in this manner.

  • Ruskin's Rudimentary series, 5th ed. (1873)

    R|278} Profile of violet leaf (enlarged). M.
    Process B. With pencil on tinted paper, reinforced with white. Example for practice. Study of profile of violet leaf R.278.

    This is the most convenient and rapid mode of chiaroscuro study; all shades below the tint of the paper being carefully worked with the black; and all lights higher than the tint of the paper being as carefully worked with the white: but the method is greatly liable to the abuse of laying the pigment at random on the light.

    Dürer, Mantegna, and other such perfect draughtsmen, lay the light on such studies with a pen or brush line, gradating it as the lines of engraving. This is not an advisable method for the general student, being much too laborious, and requiring consummate skill. But he is to remember that the difference between daubing and painting is in the perfect gradation and intention of his imposed light.

    This study of violet leaf is rudely and imperfectly done, but well enough for example: I wish every student to draw the profiles of every common leaf from nature in this manner.

© 2013 University of Oxford - Ashmolean Museum