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Study of late Greek Treatment of Foliage, from a Coin of Syracuse Arthur Burgess
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Details
- Artist/maker
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Arthur Burgess (1843 - 1886)
- Object type
- drawing
- Material and technique
- coloured chalk on wove paper
- Dimensions
- 487 x 338 mm
- Inscription
- Verso:
top left, in ink, crossed out in graphite: 90
just below, in ink, crossed out in graphite: 22 E
top, left of centre, in graphite, surrounded in a graphite circle: 30
bottom centre, the Ruskin School's stamp
just to the right, in graphite (recent): Burgess | E. 38
- 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.038
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Subject terms allocated by curators:
Subjects
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References in which this object is cited include:
References
Ruskin, John, Catalogue of the Educational Series (London: Smith, Elder, 1871), cat. Educational no. 22.E
Ruskin, John, Catalogue of the Educational Series (London: Spottiswoode, 1874), cat. Educational no. 38
Ruskin, John, ‘Educational Series 1878’, 1878, Oxford, Oxford University Archives, cat. Educational no. 30
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. 38
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)
22 E Late Greek Treatment of Foliage. (Coin of Syracuse). A -
Ruskin's Educational series, 2nd ed. (1874)
38. Late Greek Treatment of Foliage. (Coin of Syracuse).A -
Educational, manuscript (1878)
38 30.An exquisite enlargement, by Mr Burgess, of the wreath of olive round the head of Jupiter on a copper coin of Syracuse. This is to be compared, first, with Example No.10 in order that the student may feel the manner in which the Greeks adapt natural vegetable form to ornamental purpose; and, secondly, that he may recognise the undulating languor of the Greek lines as opposed to the spring or rigidity of the natural one. In my drawing of the olive spray , however, this is not enough seen, because the study was made from dry leaves which had already lost part of their expression of strength.
