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Profile of a Violet Leaf, enlarged John Ruskin
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Details
- Artist/maker
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John Ruskin (1819 - 1900)
- Object type
- drawing
- Material and technique
- graphite and bodycolour on grey wove paper
- Dimensions
- 266 x 274 mm
- Inscription
- Verso:
top left, in graphite: R.278
top, right of centre, the Ruskin School's stamp
- 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.RUD.278
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Subject terms allocated by curators:
Subjects
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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. 143
Ruskin, John, The Ruskin Art Collection at Oxford: Catalogue of the Rudimentary Series, in the Arrangement of 1873, ed. Robert Hewison (London: Lion and Unicorn Press, 1984), cat. Rudimentary no. 278, RUD.278
Ruskin, John, Instructions in Practice of Elementary Drawing, Arranged with Reference to the First Series of Examples in the Drawings Schools of the University of Oxford (n.p., [1872]), cat. Rudimentary no. 278
Ruskin, John, Instructions in the Preliminary Exercises Arranged for the Lower Drawing-School (London: Smith, Elder, 1872), cat. Rudimentary no. 278
Ruskin, John, Instructions in the Preliminary Exercise Arranged For the Lower Drawing-School (London: Spottiswoode, 1873), cat. Rudimentary no. 278
Ruskin, John, ‘The Works of John Ruskin’, Edward T. Cook and Alexander Wedderburn, eds, The Works of John Ruskin: Library Edition, 39 (London: George Allen, 1903-1912), vol. XXI, pl. LX (top), f.p. 264
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. Rudimentary no. 278
Location
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- Western Art Print Room
Position in Ruskin’s Collection
Ruskin's Catalogues
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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.
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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.
