John Ruskin

John Ruskin's stay in Venice as reported in The stones of Venice emphasizes the different ways of doing things, the different ways of seeing things and the flight from acquired concepts. The objective of the tourist who goes to the region is to be able to escape the ready-made thoughts and to discover another world.

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John Ruskin, Viktorya dönemi İngiltere’sinin en önemli sanat eleştirmenlerinden biri olmasının yanında, sanat hamisi, suluboya ressamı ve sosyal kuramcılarından birisidir. Jeolojiden, mimariye, edebiyattan, eğitime, botanikten, politik ekonomiye kadar birçok farklı alanda yazılar kaleme almıştır. Ruskin’in yazı biçimi ve edebi formları da aynı ölçüde çeşitlilik gösterir. Gezi yazıları, klavuzlar, mektuplar, şiirler, bilimsel ve akademik makaleler hatta bir peri masalı bile yazmıştır. Bununla beraber yazın hayatının olgunluk döneminde mesajını en
etkin biçimde aktarmayı amaçlayan daha sade ve anlaşılır bir dil kullanmayı tercih etmiştir. Ruskin’in bütün yazıları doğa, sanat ve toplum arasındaki bağlantıları vurgulayan bir ana çerçeveye oturur. 19. yüzyılın ikinci yarısından, I. Dünya Savaşı’na kadar olan süre içinde Ruskin, düşünce dünyasına muazzam etkileri olan önemli bir isimdi. William Turner’ın doğaya ve resme yaklaşımından fazlasıyla etkilenmiş olan Ruskin; Pre-Raphaelist’lere de sonuna kadar sahip çıkmış ve desteklemiştir. Bu durum başta Empresyonizm olmak üzere, sonrasında gelişen akımlara da ilham vermiştir. 1900’deki ölümünün ardından 1960’lara gelene kadar unutulmaya yüz tutan Ruskin düşüncesi, 1960’lardan itibaren yazın ve akademi çevrelerinde daha sağlam bir zemine oturdu. Günümüzde Ruskin düşüncesi, sanat ve zanaat alanlarında olduğu kadar, ekoloji, sürdürülebilirlik, politik iktisat gibi farklı disiplinlerde kabul edilmekte ve referans kaynağı olarak kullanılmaktadır.

Proponents of the Arts and Crafts Movement in the United Kingdom put William Morris’s artistic and social ideals into practice by emphasizing a return to handcraft and freedom of individual creative expression, regional or local design and materials, a repudiation of industrial manufacturing, and socioeconomic justice both through production and consumption of well-made, beautiful goods. In the late nineteenth and early twentieth centuries, U.K. architects became strongly influenced by the aesthetics of the Arts and Crafts Movement, yet primarily limited its expression to large homes for wealthy owners—embracing most of Morris’s artistic ideals, yet far from his egalitarian vision. While some U.S. architects build grand homes inspired by their U.K. predecessors, the movement focused more on the Craftsman aesthetic of Gustav Stickley and the bungalow-style home, primarily in modest, single-family homes for working- and middle-class residents. This paper argues that while both U.S. and U.K. architects valued individual craftsmanship and local materials, in the United States multi-building developments and thousands of partially prefabricated Craftsman-style homes created an American vernacular style that provided improved living conditions for a wide economic cross-section of society. In embracing modern technological production and distribution, American Arts and Crafts architecture moved away from the pure ideals of craftsmanship yet achieved more of the goals of style and comfort for all.

En 1855, William Morris n’est pas encore un immense artiste pluridisciplinaire mais un étudiant en théologie. Avec deux camarades d’Oxford, il vient prendre des vacances dans le nord-ouest de la France. Après Abbeville et avant Beauvais, Chartres, Rouen, il visite Amiens et sa cathédrale. Il marche ainsi sur les traces des architectes et critiques d’art George Edmund Street, Gilbert Scott, John Ruskin. Comme eux, il célèbre certains traits remarquables que ne présentent pas ou peu les édifices gothiques anglais : hauteur impressionnante, remplages et surtout portails sculptés, que William Morris lit, trente ans avant La Bible d’Amiens, dans un long article, « Shadows of Amiens », qu’il publie dans The Oxford and Cambridge Magazine, avec deux nouvelles, médiévale et fantastique, également consacrées à la cathédrale : « The Story of the Unknown Church » et « A Night in a Cathedral ». La fiction n’est pas moins pertinente que la description pour rendre compte d’un édifice que William Morris aborde de façon résolument affective, émotive et subjective, qu’il se pose en visiteur, donne la parole à un des constructeurs de la cathédrale ou qu’il soulève ses difficultés de scripteur confronté à la difficulté de traduire une architecture en mots. Dans tous les cas, sa posture est artistique, humaniste, agnostique. Les textes qu’il publie suite à sa visite à Amiens s’avèrent donc en accord avec sa décision, simultanée, de renoncer aux ordres pour devenir artiste. Bien plus, on y perçoit, en les lisant de près, de nombreux germes des écrits communistes, quoique bien plus tardifs, de William Morris – non seulement des idées clés de ses conférences mais aussi des motifs de ses fictions, tels que la nuit dans l’église ou la sculptrice, qu’il retravaille et sublime en symboles d’un bonheur non plus passé mais à faire advenir en mettant fin au système capitaliste destructeur de la beauté de la vie.

Les études concernant l'image de Venise dans la littérature européenne ne se comptent plus. Curieusement, la multiplication de ces essais ne s'est accompagnée d'aucun renouvellement du corpus : on continue d'invoquer le témoignage des mêmes auteurs, du XVIe au XXe siècle ; on questionne les mêmes textes. La recherche s'est trouvée tributaire de cette stagnation.
Tandis qu'on passait les récits de voyage au crible, on a ignoré les romans, les nouvelles, situés à Venise. Or, entre le dernier quart du XIXe siècle et l'entre-deux-guerres, on assiste à une spectaculaire floraison des récits évoquant cette ville où l'on voyage moins qu'on n'y séjourne, périodiquement, rituellement. Romans anglais, allemands, italiens mais surtout français. C'est d'un véritable établissement de la fiction qu'il s'agit, révélateur de l'engouement des écrivains pour une cité où le snobisme, essentiellement parisien, s'épanouit chaque automne suivant des itinéraires thématiques et géographiques bien particuliers. Dans cette perspective, les pages vénitiennes de Proust apparaissent comme la chevelure d'une comète largement inexplorée.
Aucun ouvrage sur Venise n'avait pris en compte les textes dont il est question dans cette étude. Tantôt illustres, les auteurs de ces fictions vénitiennes sont pour la plupart ignorés, oubliés, voire méprisés. Seul l'examen de leurs textes permet cependant de mesurer l'importance d'un phénomène capital pour l'appréhension littéraire d'une ville trop souvent réduite à un cortège de préjugés immuables : la « folie vénitienne », engouement dont l'apparente futilité masque mal l'angoisse d'un monde qui refuse de croire à sa fin.

The first edition of The Sympathy of Things, published with V2_Publishing, was quickly sold out to later be published in a revised new edition with Bloomsbury: https://www.academia.edu/19435584/The_Sympathy_of_Things_Ruskin_and_the_Ecology_of_Design_2nd_ed_

Fed up with the commercial and moral restrictions of the mainstream press, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated designs or total works of art in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen major little magazines of the Victorian era, both situating these within the periodical press of their day and providing interpretations of representative items, in doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.


Key Features:
----------------------
* First monograph to focus on the origins and development of the little magazine genre during the Victorian period
* Each chapter provides a representative introduction to the respective little magazines
* Combines new insights with a critical overview of the state of the art on each discussed little magazine

Table of contents
----------------------------
Introduction
1. The Germs of a Genre: The Germ and the Oxford and Cambridge Magazine
2. Mounting the (Century Guild) Hobby Horse
3. The Little Magazine as a Periodical Portfolio: the Dial, the Pagan Review and the Page
4. Selling the Yellow Nineties: the Yellow Book and the Savoy
5. Politicised Aestheticism outside London: the Quest and the Evergreen
6. Little Excursions Outside the Avant-Garde: the Pageant, the Parade and the Dome
(In)conclusions

This paper considers the nature of the speculative architectural project, its distinction from building,  its relationship to a particular aspect of mimetic inquiry, and the implications of  the rise of technique -- in particular, its influence on the mimetic capacity of a speculative architectural project. Architectural speculation is considered through the relationship of "making" and "place," evidenced in the admittedly unlikely conjunction of Gothic Scholasticism, surrealist theater, and the Cinquecento conceptual model of disegno. This paper explicates their interrelationship through reconstructing a program that invites participation in the collective mimesis of a speculative architectural project.

built between 1855 and 1860, remains today more or less in its original appearance. On stepping into the dimly lit entrance foyer and climbing the leaden-grey stone steps, a visitor may be unprepared for the architectural vision beyond the unassuming wooden doors. Natural light pours through the clear glass roof, illuminating the museum's central court. The daylight touches every surface-the specimens, the walls, the floors, corners and crevasses. Numerous stone and iron columns support a roof formed of overlapping glass scales, interwoven with iron cross work, added to which are the skeletons of great leviathans suspended from this extraordinary iron and glass ceiling. The juxtaposition of the cast-iron lancet arches that support the roof with the large curving rib bones of the various whale specimens hanging above creates a remarkable sight. As the bright midday sun reaches its zenith, the bones seem to appropriate the same steely-grey and ochre-yellow patina as the ironwork, making their individual forms, colours and textures indistinguishable from one another (figure 1). This phenomenon of material slippage is striking, and it raises the question as to whether this chromatic conflation of bone and iron was an intentional part of the museum's original design. In the museum, the bone and iron both share the visual attribute of being relatively narrow and long, particularly when considering the rib bones, with their delicately curving processes, echoed in the roof's iron lancet arches. Both materials yellow over time, but they also express many other similar intrinsic properties that had not gone unnoticed by nineteenth-century scholars and academics. 1 They were considered to be ideal building materials, having the shared properties of being both light and incredibly strong. The intrinsic properties, physical

Il catalogo della mostra che si tiene a Palazzo Ducale in apertura delle celebrazioni per il bicentenario della nascita di John Ruskin racconta la storia d’amore, lunga e fruttuosa, tra il famoso critico inglese e la città di Venezia. Durante la sua vita, Ruskin visitò Venezia numerosissime volte a partire dal 1835 e, in seguito ai lunghi soggiorni in città, pubblicò l’opera in tre volumi intitolata Le pietre di Venezia, un inno alla bellezza, all’unicità e alla fragilità di questa città, destinata a diventare un caposaldo della cultura anglosassone e l’inizio del revival gotico d’epoca romantica.
Il volume si apre con un testo di Gabriella Belli che racconta Le ragioni di una mostra: «Un’esposizione che, per essere quasi la prima che il Paese dedica a questo versatile intellettuale inglese, ha inteso innanzitutto focalizzarsi sul racconto della sua personale vicenda artistica, meno nota rispetto alla più ampia diffusione del suo pensiero, contenuto nelle migliaia di pagine vergate nel corso della vita e pubblicate coeve in magnifiche edizioni». Segue il saggio della curatrice Anna Ottani Cavina John Ruskin. Ritratto d’artista: «Questa mostra su John Ruskin, nel cuore gotico della citta, vuole essere un monito per la salvezza di Venezia; ma poiché un’esposizione coincide con la sua messa in scena, la mostra è anche una sfida a celebrare Ruskin come pittore, grande e singolare pittore, al di là della sua vertiginosa capacità di interpretare i tanti ruoli del genio, al di là della sua stessa determinazione a privilegiare la parola scritta». L’intervento di Joseph Rykwert, John Ruskin. Una voce sempre viva, si concentra sui discorsi tenuti da Ruskin nell’ambito di numerose conferenze, incontri che rappresentavano una delle principali forme di intrattenimento popolare dell’Ottocento.
A concludere il volume, gli interventi di Sarah Quill, Sergio Perosa, Stephen Wildman, Francesca Tancini e Clive Wilmer, oltre al catalogo delle opere in mostra e la cronologia curate da Elena Marchetti, e la bibliografia a cura di Francesca Tancini.

The Collegiate Gothic movement in America that emerged from the early 1890’s marked the last phase of the inclusive Gothic Revival movement in the country and became a part of the movement for college planning known as “College Beautiful”. The extensive development of colleges was made necessary and possible by the combination of demand and wealth created by the Gilded Age, as well as by architectural strategies introduced through the Chicago Columbian Exposition of 1893. The Collegiate Gothic brigade, while searching for its main reference points in the English collegiate tradition of Tudor Gothic as opposed to Victorian Gothic, ended up mingling the Oxford-Cambridge building system of quadrilateral plan with the Beaux-Arts system of extensive landscape planning with axis and symmetry, within the American setting of broad college campuses. (under review for Transactions of AIJ. Journal of Architecture, Planning and Environmental Engineering)

The Pre-Raphaelites and Orientalism: Language and Cognition in Remediations of the East redefines the task of interpreting the East in the late nineteenth century. Weaving together literary, linguistic and cognitive analyses of Pre-Raphaelite paintings, illustrations and writings, socio-cultural investigations of the Orient, and rhetorical considerations about Arabian forms of writing, the terms of critical debate surrounding the East are redefined. It takes as a starting point Edward Said’s Orientalism (1978) in order to investigate the latent and manifest traces of the East in Pre-Raphaelite literature and culture. As the book demonstrates, the Pre-Raphaelites and their associates appeared to be the most eligible representatives of a profoundly conservative manifestation of the Orient, of its mystic aura, criminal underworld, and feminine sensuality, or to put it into Arabic terms, of its aja’ib (marvels), mutalibun (treasure-hunters) and hur al-ayn (femmes fatales).

Though we were already able to perceive how fundamental the English contribution was in defining the most current and global concept of Restoration, still a clear overview of the complex events relating to the affirmation of conservative principles and a more in-depth knowledge of the documentary sources until now was missing. It was certainly essential to analyse the cultural profiles of all the main protagonists, accenting their theoretical contributions and changes in the restoration site approaches.
The historical reconstruction of the events was about developed over the course of three centuries, from the end of the 17th century to the beginning of the 20th, mostly based on the translation and study of texts never circulated in Italy, such as the fundamental document entitled “Papers on the Conservation of Ancient Monuments and Remains” (1865). The method to organize the research results is marked by the desire to know the sources in depth, structuring the text through them, always in relation to an overall view and a chronologically ordered path.
The first conservative propensities were felt at the end of the seventeenth century, and the attitudes that progressively led to a more mature conception of restoration began to be highlighted by Christopher Wren, Nicholas Hawksmoor, and John Vanbrugh during the 18th century. The philosophical concept of authenticity emerged on the British cultural scene, and interest in the study and conservation of the prehistoric site of Stonehenge began.
John Ruskin is still universally considered the main representative of the reaction against the destructive treatment of ancient buildings, but the centrality of other contributions due to Welby Pugin, Gilbert Scott, and John James Stevenson was highlighted both in the development of the disciplinary theory and in the commitment to the conservative redirection of practice in the restoration site.
William Morris was positively affected by Ruskin’s influence, although his attitude was also marked by social and political issues; he fought to extend the concept of safeguarding to all historical heritage through the S.P.A.B. Society for the Protection of Ancient Building. The international campaign to defend St. Mark’s Basilica in Venice was launched in 1879, unequivocally affirming the principle of the universal value of historical and artistic testimonies, intended as a cultural heritage of humanity to be transmitted to the future. Thanks to the legitimate protests received from the United Kingdom, the young Italian State began a self-critical process in restoration matter and attempted to correct the serious organizational dysfunctions through the first legislative initiatives for the protection of monuments. The engineer Francesco Bongioannini and the archaeologist Giuseppe Fiorelli (head of the Direzione Generale di Antichità e Belle Arti of the Ministry of Public Education) were the key figures of these important innovations.
The same awareness also emerged in the United Kingdom, and the first government measures to defend the nation’s architectural and environmental heritage were enacted between the end of the 19th century and the beginning of the 20th. The National Trust (also born from a vision of John Ruskin) added to the numerous associations already operating in the protection sector.
The research remains open to further acquisitions, but the less blurry portraits and the sharper cultural profiles of the numerous protagonists and interpreters of the restoration in the United Kingdom can already be perceived, reconfirming the precious contribution offered by the English culture to the birth and affirmation of the Restoration as a modern European conservative discipline.
God save the Restoration!

John Ruskin offered an alternative paradigm to the debates on constructional polychromy in Victorian Britain. The paper considers the larger context of the debate and Ruskin’s place within it, which is that he favoured the decorative use of innate colour of materials to achieve concealment of the building’s structure. However, even then Ruskin’s theory of polychromy, especially his attitudes to colour and pattern, remains far from obvious. The paper offers an original insight into this, as it explores Ruskin’s approach to architecture and colour through the lenses of gender, body, soul and dress, presenting his triadic theory of architecture that asserted: a) architecture is a combination of painting and sculpture; b) it is feminine; and c) it analogous to a dressed body. The paper then deploys this understanding to revisit the ambivalence between colour as pattern, and colour as effect, and to argue that for Ruskin the visual field is characterized essentially by simultaneity and vacillation, not singularity and stability. It is argued that Ruskin’s writings complexified as well as undermined polarities prevalent in the dominant paradigms of polychromy, as his writings refused to resolve the difference between pattern and effect, to the same extent that they also refused to the settle the difference between sculpture and painting; canvas and textile; and flatness and texture.

This article examines critical responses to J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying, Typhon Coming On (1840), and John Ruskin’s 1843 critique of the painting, in the years following the publication of David Dabydeen’s Turner (1994). The representation of drowning slaves in Turner’s painting, and in Ruskin’s art criticism, has resulted in the emergence of something of a critical consensus in which both figures are seen to either neglect or take pleasure in the subject of slavery.  The purpose of this article is to explore available evidence and to argue that insufficient attention has been paid to Turner’s painting, to his politics, and to his purpose in Slavers; to Ruskin’s objectives in critiquing Turner; to distinctions between Ruskin’s imperialism and his position on slavery; and to his examination of Turner’s painting.  In a corrective to recent critical assumptions, I hope to suggest that in these instances claims made on these issues often rest on shaky foundations, and that it is possible for more sustainable readings of Turner’s painting and Ruskin’s criticism to emerge.

I have a longstanding interest in John Ruskin’s writings about work and craftsmanship, which influenced Gandhi’s philosophy. In recent years I have been intrigued by Ruskin’s seminal work on the “grotesque.” His ideas fed into the modern arts of caricatures, the sketchiness and rough unfinished quality in modern paintings.  Ruskin recognized the vitality in spontaneous playfully weird images, like gargoyles and cartoons. My interest in C. G. Jung’s and James Hillman’s depth psychology exploring archetypal images also relates to Ruskin’s ideas about fantasies and the fantastic, about dominant imaginative ideas that predate the term “archetype.” Furthermore, Ruskin’s interest in the Gothic in architecture and other areas gave me incentive and curiosity to explore the Gothic style and today’s Goths. I find the scholarship on these topics to be rich and thought-provoking, worth deeper exploration, as my extensive endnotes suggest. I started exploring Ruskin’s ideas on grotesques, and after over four decades the topic continues to attract me. I find that Archetypes can be explored in many ways—in song lyrics and saints’ biographies, in writings about compassion and helping others, in trickster figures, and in grotesque imagery.

The juxtaposition of style or historical epochs (Gothic against Greek, past
against present) is a common attribute of nineteenth century architectural
criticism. While Pugin's Contrasts; Or, A Parallel Between the Noble Edifices Of
The Fourteenth And Fifteenth Centuries, And Similar Buildings of the Present
Day (1836) provides an explicit example of this methodology a similar reliance
on stylistic and/or temporal binaries is also evident in the later writings of John
Ruskin and Oscar Wilde. The aim of this paper is to compare Pugin's Contrasts
with those of Ruskin and Wilde. Initially adhering to the romantic proposition
that all objects are dependent on the development of an ‘opposite’ for their
representation and being, the treatment of this ‘other’ by each critic reveals
divergent stylistic motives ranging from the hierarchical (asserting the authority
of one by the denigration of the other), appropriation (where opposites combine
to generate a third and superior category) and analogical (the simultaneous
acknowledgement and autonomy of similarity and difference). Acknowledging a
third conceptualisation of the ‘other’ (analogy) that fails to conform with
postcolonial models of appropriation and denigration, the paper will also
demonstrate the methodological importance of ‘difference,’ and the varying
tolerances to it, within internal critiques of English architectural practice
throughout the nineteenth century..

During the last third of the 19th Century, an important artistic movement called Arts & Crafts emerged in Great Britain with the aim of offering an alternative to the mechanized and impersonal art of the moment, product of the Industrial Revolution. Different writers, artists, architects and philosophers of the period joined their forces to develop an
aesthetic reform. The most representative figure of this movement was William Morris (1834-1986), poet, craftsman, printer, designer and political activist.

The  chapter argues for the complex middle position in aesthetics as the most radical. The picturesque, "a station between beauty and sublimity," as Uvedale Price argued in 1796, views the forces that either make or destroy things as coexistent with their form. The chapter culminates in a fictional skirmish between Heidegger and Ruskin where for the first the sublime is what all things strive for, while for the latter it merely consists of a point to grow away from.

Starting with Goya's Caprichos and ending with Charlie Hebdo's offensive cartoons (and the outraged reactions both sets of images elicited), this essay considers satire less as an attack on others than an opportunity for self-reflection. Especial attention is paid to the relation between Goya's etchings and their captions, and to the iconoclastic reaction to Goya of a major nineteenth-century art writer, John Ruskin.

This transcription of a keynote for the Speculative Art Histories conference in May 2013 is a mixture of the main argument of The Sympathy of Things and some new insights. The text might be helpful for those who have not read the Sympathy book, which was sold out for a number of years until it was republished with Bloomsbury in 2016. This essay appeared as a chapter in Sjoerd van Tuinen's Speculative Art Histories (Edinburgh University Press, 2017).

Proust has shown little interest in the decorative arts of his time, but his work bears the mark of the "submarine style" distinctive of Art nouveau. The low bookshelves with glass panes in the Grand Hôtel room at Balbec ― the symbol of À la Recherche’s unity, according to Georges Poulet in Proustian Space ― prove to be authentic witnesses of “modern style”. But what does “modern style” actually mean? À la Recherche includes five occurrences of the expression that could lead to misunderstanding. Contrary to a preconceived idea, it is not the English name for Art nouveau. This French coined anglicism refers to the international revival of the decorative arts at the beginning of the twentieth century, a fascinating but disturbing blend of aesthetics and social ideas. Proust detected at once and discreetly highlighted the cosmopolitan and "rastaquouère" (so to speak "métèque") inspiration of an ephemeral artistic movement contemporary with the Dreyfus affair. Enriched with an abundant and entirely original iconography, full of new discoveries and identifications, Rastaquarium brings back to life an epoch of which the novelist caught the essence. For the first time the whole question of decorative arts in À la recherche is fully tackled in all its ramifications, in a fascinating instance of the network of connections at the heart of Proust’s system.

Proust n’a manifesté que bien peu d’intérêt pour les arts décoratifs de son temps, mais son œuvre ponctuée d’aquariums est marquée par le «style sous-marin» caractéristique de l’Art nouveau. Les «bibliothèques vitrées» de la chambre de Balbec ― dans lesquelles Georges Poulet voyait le symbole de l’unité de l’œuvre ― se révèlent d’authentiques témoins du «modern style». Mais qu’est-ce que le «modern style»? L’expression, qui revient cinq fois dans À la Recherche du temps perdu, n’avait jamais vraiment été élucidée. Contrairement à une idée reçue, ce n’est en rien le nom anglais de l’Art nouveau. Cet anglicisme bien français désigne un renouveau international des arts décoratifs qui, mêlant esthétique et idées sociales, fascine et inquiète… Proust a parfaitement perçu et discrètement mis en valeur l’inspiration cosmopolite et «rastaquouère» d’un courant artistique dont le bref épanouissement coïncide avec les années de l’affaire Dreyfus. Enrichi d’une vaste iconographie, entièrement originale, fourmillant de trouvailles et d’identifications nouvelles, Rastaquarium fait revivre une époque dont l’écrivain a su capter l’essentiel. Toujours abordée de façon fragmentaire, la question des arts décoratifs dans la Recherche n’avait jamais été traitée dans son ensemble, seule manière de saisir les réseaux de correspondances si chers à Proust.


Table of Contents

Note sur l’iconographie – Remerciements – Abréviations

Rastaquarium

Qu’est-ce que l’Art « nouveau » ?

Le « modern style » n’est pas un style

Naissance d’une expression

Le mobilier des Proust

Le monde de Liberty

Contre Ruskin

1905 : « Sur la lecture »

La Femme inconnue de Lille et le Printemps par « Brown »

Le moment Maple

Bing !

Le « modern style » dans la Recherche

Les bibliothèques vitrées de Balbec

De la référence anglaise à la référence bavaroise : le Salon d’Automne de 1910

Style « sous-marin »

Le Royaume de Neptune ou la civilisation de l’aquarium

Le « modern style », agent de l’étranger

L’esthétique dreyfusarde

Siegfried n’est pas Samuel

Le règne de l’impur

Le style franco-sémitique

Une nouvelle croisade

Dreyfusards avant Dreyfus

Style rastaquouère

Bibliographie - Index nominum - Table des illustrations

Les monnaies grecques ont de tout temps été considérées comme les plus belles monnaies jamais produites. Evoquant Goethe, José Maria de Hérédia ou le Président Theodore Roosevelt, cette conférence s’interroge sur les raisons qui fondent ce sentiment. On évoquera le très haut relief, la diversité des types, la qualité de la gravure et l’adaptation à la petitesse du format. On traitera également de la beauté (fondée sur la symétrie) et du sublime (fondé sur la dissymétrie), avec une attention particulière pour les types représentés de trois quarts face et pour l’évolution du goût du XVIIIe siècle à nos jours. Platon, Longin, Raphael, Rubens, Winckelmann, Kant, Burke et Ruskin sont quelques-uns des grands noms évoqués à cette occasion.

إعادة نشر مقتطفات من متن تمهيد كتاب قصة الفن الحديث
تلخيص أقرب الى الترجمة لرمسيس يونان عن تأليف المؤرخة الامريكية سارة نيوماير Sarah Newmeyer
الناشر: مكتبة الانجلو المصرية 1960.
الكتاب الاصلي بعنوان Enjoying Modern Art وصدر عام 1955.
Reinhold Publishing Corporation; First Edition, First Printing edition (1955)

"A preocupação com o patrimônio histórico e o legado deixado por gerações anteriores à nossa tem aumentado consideravelmente nas últimas décadas. Isso se deu por conta de várias destruições de obras do passado levadas a cabo em nome do progresso. Mudanças bruscas na paisagem urbana levaram a um interesse maior sobre os monumentos, obras de arte e de arquitetura que são testemunhos da história. Quais são os elementos que nos definem? Quais são os elementos artísticos que nos são característicos? De que cores vestimos nossas casas e nossas cidades?
Daí a crescente necessidade de recuperação dessas obras e consequentemente, a maior quantidade e visibilidade das obras de restauro. Ao mesmo tempo, essa chamada “era da informação” em que vivemos, que se utiliza cada vez mais do visual, valoriza crescentemente o papel da cor em todos os aspectos de nossas vidas.
Assim, este trabalho busca refletir um pouco sobre a disciplina de restauro e as questões inerentes à cor e suas derivações que se colocam nos processos de recuperação do espaço construído, analisando, posteriormente os casos de restauração de três coloridas igrejas barrocas no Estado de São Paulo."

The chapter develops the notion of a “gothic ontology,” which inverts Deleuze’s baroque ontology of the fold that played such a seminal role in the advent of "digital architecture". Whereas in the universe of the fold continuity precedes singularity, in the gothic singularity precedes continuity. The reversal is based on the notion of the rib, which is the source of Ruskin's “changefulness”, expressed through “millions of variations” of figures. Figures move and change only to interact with or connect to other figures, i.e. to build configurations. Ruskin’s complementary notion of "savageness", usually categorized as an ethics-over-aesthetics, becomes here a notion of craft inherent to matter, not to humans.

In 2010 it will be 150 years since John Ruskin’s major intervention in political economy was published. While in many ways Ruskin remains a well-known British commentator, his work on political economy has languished, relatively under-appreciated and seldom discussed. In this short review of Ruskin’s political economy, the central aspects of his analysis are introduced and summarised. This is then allied to a short indication of how these ideas remain (especially) relevant today, as a prompt to those interested in thinking through analytical alternatives in light of the current travails of contemporary capitalism, to examine and re-engage with John Ruskin’s insights into the character and problems of economics.