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

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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.

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Study of Part of the Sepulchral Relief of Demetrius Alexander Macdonald

Location

    • Western Art Print Room

Position in Ruskin’s Collection

Ruskin's Catalogues

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

    R|57} Study of Greek sculpture, full size of the original in the University galleries. A. Macdonald.
  • Ruskin's Rudimentary series 4th ed. (1872)

    R|57} Study of Greek sculpture, full size of the original in the University galleries. A. Macdonald.
  • Ruskin's Rudimentary series, 5th ed. (1873)

    R|57} Study of Greek sculpture, full size of the original in the University galleries. A. Macdonald.
  • Ruskin's revision to the Rudimentary series (1878)

    remains 57.

    Standard for execution of shade in drawings admitting its full depth. Held upside down it will be seen that the folds of the drapery might represent two beautiful leaves of a water-plant clasping its ascending stem. This shows at once the strictly ornamental and constructive arrangements, not only of every line, but of every surface in noble sculpture. In archaic Greek and Etruscan sculpture and in the parallel Christian schools of the xiith century these ornamental lines are disposed under the strictest submission to the law of gravity; the substance of the stuff being conceived as entirely fluent and incapable of forming an angle, unless under such violent tension as that of a whiplash when it is cracked. The introduction of draperies capable of sustaining themselves in angles is a sign of later schools, and the prevalence of such drapery of debased ones.

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