1819-1900 English academic and critic, who had an enormous influence not only on architectural style but on the ways in which standards of aesthetics were judged. He used an Evangelical and polemical tone in his writings that not only reached a mass audience but received the approval of the Ecclesiologists. Initially encouraged by J. C. Loudon, he contributed to some of Loudon's publications, but his key works date from the late 1840s and 1850s. The Gothic Revival was well established when Ruskin published The Seven Lamps of Architecture (1849), which was an immediate success, encapsulating the mood of the period rather than creating new ideas. He argued that architecture should be true, with no hidden structure, no veneers or finishes, and no carvings made by machines, and that Beauty in architecture was only possible if inspired by nature. As exemplars worthy of imitation (he argued that the styles known to Man were quite sufficient, and that no new style was necessary) he selected Pisan Romanesque, early Gothic of Western Italy, Venetian Gothic, and English early Second Pointed as his paradigms. In the choice of the last, the style of the late C13 and early C14, he was echoing A. W. N. Pugin's preferences as well as that of most ecclesiologically minded Gothic Revivalists such as G. G. Scott. The Stones of Venice (1851C3) helped to promote that phase of the Gothic Revival in which Continental (especially Venetian) Gothic predominated. Deane and Woodward's University Museum, Oxford (1854C60), is an example of Venetian or Ruskinian Gothic. In particular, structural polychromy, featuring colour in the material used, rather than applied, was popularized by Ruskin's writings.   Related Paintings of John Ruskin,HRWS :. | The Three Graces | Self-portrait | Four Figures at Table | The woman pushing wheelbarrow | The Sleep of Endymion |
Related Artists:
Anna Maria Ehrenstrahl
1666-1729,as married Wattrang, (1666-1729), was Swedish painter, the first female painter in her country. She was a baroque-artist and painted allegorys, portraits and group portraits in the style of the Baroque. Born as child of the court painter David Klocker Ehrenstrahl and Maria Momma, she was instructed as a student by her father to copy and finish his works and to paint details and other such smaller things to complete the paintings in his studio. She is confirmed as her fathers assistant from ca 1680. Her learning as an artist was therefore not complete, as he never intended her to become an independent artist, just as a form of artistic secretary in his studio, but she was in fact to create paintings herself eventually. In 1688 she married Johan Wattrang, vice president in Svea Hovratt, and painted six portraits of this courts former presidents, which she gave the court signed with her own name (1717). Her way of painting was in the same barocque style as her father; she painted allergorys and portraits of both single people and groups, bot real people and mytholocigal figures in the style of the time. Among them was portraits of king Charles XI of Sweden, Prince Ulrik (in 1685), an allegory over the four seasons (1687) and an allegory of Cupid and Psyche. She painted the four king's under her lifetime, the Princes Gustaf and Fredrik, Ulrika Eleonora of Denmark and Aurora Konigsmarck.
Eugene Grasset
Swiss-born French Art Nouveau Designer, 1845-1917 Born Eugene Samuel Grasset in Lausanne, Switzerland, his birth year is sometimes stated as 1841. He was raised in an artistic environment as the son of a cabinet designer maker and sculptor. He studied drawing under Francois-Louis David Bocion (1828-1890) and in 1861 went to Zurich to study architecture. After completing his education, he visited Egypt, an experience that would later be reflected in a number of his poster designs. He became an admirer of Japanese art which too influenced some of his creative designs. Between 1869 and 1870, Grasset worked as a painter and sculptor in Lausanne but moved to Paris in 1871 where he designed furniture fabrics and tapestries as well as ceramics and jewelry. His fine art decorative pieces were crafted from ivory, gold and other precious materials in unique combinations and his creations are considered a cornerstone of Art Nouveau motifs and patterns. Grasset poster for Mark Twain Joan of ArcIn 1877 Eugene Grasset turned to graphic design, producing income-generating products such as postcards and eventually postage stamps for both France and Switzerland. However, it was poster art that quickly became his forte. Some of his works became part of the Maitres de l Affiche including his lithograph, Jeanne d Arc Sarah Bernhardt. In 1890, he designed the Semeuse logo used by the dictionary publishers, Editions Larousse. With the growing popularity of French posters in the United States, Grasset was soon contacted by several American companies. In the 1880s, he did his first American commission and more success led to his cover design for the 1892 Christmas issue of Harper Magazine. In 1894 Grasset created The Wooly Horse and The Sun of Austerlitz for The Century Magazine to help advertise their serialized story on the life of Napoleon Bonaparte. The Wooly Horse image proved so popular that Louis Comfort Tiffany recreated it in stained glass. Grasset work for U.S. institutions helped pave the way for Art Nouveau to dominate American art. At the end of the 19th century, Grasset was hired to teach design at Ecole Guerin and Ecole Estienne in Paris. Among his students were Maurice Pillard Verneuil, Augusto Giacometti, Paul Berthon and Otto Ernst Schmidt. At the Universal Exhibition of 1900 in Paris, the G. Peignot et Fils typefoundry, introduced the Grasset typeface, an Italic design Eugene Grasset created in 1898 for use on some of his posters.
Wyatt Eaton
(May 6, 1849 - June 7, 1896) was an Canadian/American portrait and figure painter, remembered as one of the founders of the Society of American Artists. Born in Philipsburg, Quebec, Lower Canada, Eaton was a student of the National Academy of Design, New York. In 1872, he moved to Paris and studied at the École des Beaux-Arts under Jean-Leon Gerôme. During this time, he made the acquaintance of Jean-François Millet at Barbizon, and was also influenced by his friend Jules Bastien-Lepage. After his return to the United States in 1877, he became a teacher in the Cooper Institute, and opened a studio in New York City. He became one of the founders of the Society of American Artists, in which he was the first secretary. Eaton died from tuberculosis at Newport, Rhode Island on June 7, 1896.