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

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

Ruskin's revision to the Rudimentary series (1878)

Unpublished manuscript catalogue for proposed re-organisation of the Rudimentary series.

Rudimentary manu 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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Drawing of Turner's "Goldau" John Ruskin

  • Ruskin text

    116.

    I give place next to another of the drawings executed for Modern Painters because the method of execution used in it, pencil washed with neutral tint, will enable the student often to obtain memoranda of chiaroscuro for which pencil alone would be too weak, and sepia too coarse. The drawing also represents, better than the engraving, the general effect of Turner’s Sunset seen from Goldau, so frequently alluded to in my lectureswritings .

  • Curator’s description:

    Description

    According to Cook and Wedderburn (XXI.305), the Supplementary Cabinet was 'a cabinet which Ruskin placed in the School but did not fill'; the examples which they listed were placed there shortly before their catalogue was published in 1906.

  • Details

    Artist/maker
    John Ruskin (1819 - 1900)
    after Turner (Joseph Mallord William Turner) (1775 - 1851)
    Object type
    drawing
    Material and technique
    pen and ink, watercolour and bodycolour over graphite on off-white wove paper
    Dimensions
    138 x 215 mm
    Associated place
    Inscription
    Recto:
    within the image, bottom right, in ink: J. Ruskin | 1855
    in the border, top, left of centre, in graphite: L
    in the border, top right, in graphite: [...]
    in the border, bottom right, in ink: 2nd drawing 1n plate 50. Vol. 4 MP. 1855. | J.R

    Verso, all in graphite:
    top left, recent: ? Sup 171.
    bottom, left of centre: Bottom
    just left of and below centre, and right of and below centre, two impressions of the Ruskin School's stamp
    Provenance

    Presumably presented by John Ruskin to the Ruskin Drawing School (University of Oxford); first recorded in the Ruskin Drawing School in 1878; transferred from the Ruskin Drawing School to the Ashmolean Museum c.1949

    No. of items
    1
    Accession no.
    WA.RS.SUP.171
  • Subject terms allocated by curators:

    Subjects

  • 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. 053

    Ruskin, John, ‘Rudimentary Series 1878’, 1878, Oxford, Oxford University Archives, cat. Rudimentary no. 116

    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. Supplementary no. 171

Location

    • Western Art Print Room

Ruskin's Catalogues

  • Ruskin's revision to the Rudimentary series (1878)

    116.

    I give place next to another of the drawings executed for Modern Painters because the method of execution used in it, pencil washed with neutral tint, will enable the student often to obtain memoranda of chiaroscuro for which pencil alone would be too weak, and sepia too coarse. The drawing also represents, better than the engraving, the general effect of Turner’s Sunset seen from Goldau, so frequently alluded to in my lectureswritings .

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