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

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

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Sketch of a Wood Anemone John Ruskin

Location

    • Western Art Print Room

Position in Ruskin’s Collection

Ruskin's Catalogues

  • Educational, manuscript (1878)

    16.

    The wood-anemone, showing its relation to its triangular leaf. Beneath, a little study of fruit and leaf, by Miss Dundas; which I place here as entirely standard. It is perfectly easy and perfectly complete, and in qualities of actual realisation, without reference to those of design, neither Durer nor any one else could do much better.

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

    These are chiefly for temporary service, though some will be permanently placed, but otherwise arranged. Their purpose is to enforce the practice of making the shade subordinate to the colour, and the greater number of them are Venetian, 15th century, most admirably copied by M. Caldara, and entirely authoritative as to the Venetian practice in this respect.

    In R|251 my sketch of wood anemone gives the simplest beginning of leaf colour, green and white; and the drawing beneath of a leaf of Berberis Mahonia, by a pupil of my assistant, Mr. Ward, is consummate in finished texture, and, for work to be seen near, is as good as can be. The last seven drawings, in the old English manner, by Mr. Hart, are exemplary in tranquil care and respect for local colour; see the ripe and unripe mulberries, R|275, but as compared with the Venetian work, show the constant English fault of mechanical precision instead of design.

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

    These are chiefly for temporary service, though some will be permanently placed, but otherwise arranged. Their purpose is to enforce the practice of making the shade subordinate to the colour, and the greater number of them are Venetian, 15th century, most admirably copied by M. Caldara, and entirely authoritative as to the Venetian practice in this respect.

    In R|251 my sketch of wood anemone gives the simplest beginning of leaf colour, green and white; and the drawing beneath of a leaf of Berberis Mahonia, by a pupil of my assistant, Mr. Ward, is consummate in finished texture, and, for work to be seen near, is as good as can be. The last seven drawings, in the old English manner, by Mr. Hart, (presented to me by one of my pupils, for this collection) are exemplary in tranquil care and respect for local colour; see the ripe and unripe mulberries, R|275, but as compared with the Venetian work, show the constant English fault of mechanical precision instead of design.

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