John Ruskin英格兰, 1819–1900The Casa Loredan, Venice
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《The Casa Loredan, Venice》现在在哪里？ 收藏方: 伊莎貝拉·史都華·嘉納藝術博物館, 波士顿. 不明.
波士顿, 美國
所有者已知，目前是否展出尚不清楚。
- 此状态始于
- 出处
- 博物馆
作品信息
- 馆藏编号
- P17e32
已收入目录
出处
- 维基数据
- 图片： 伊莎貝拉·史都華·嘉納藝術博物館 — John Ruskin · Public domain · Wikimedia Commons
John Ruskin当时的生活
完整生平1834–1900 · 工作地
Great Britain
1848年4月10日
Married: Effie Gray
1849
The Alps without Effie: beauty and the peasants' poverty
Effie is too unwell for the European tour of 1849, so Ruskin visits the Alps with his parents, gathering material for the third and fourth volumes of “Modern Painters”. The contrast between Alpine beauty and the poverty of the Alpine peasants stirs his increasingly sensitive social conscience.
1849
In Venice with Effie: the sketches behind “The Stones of Venice”
In November 1849 the couple stay at the Hotel Danieli: Effie looks for company, while Ruskin works alone and hurries to draw the Ca' d'Oro and the Doge's Palace, fearing that the occupying Austrian troops will destroy them. These sketches and notes will grow into “The Stones of Venice”.
May 1851
Letters to The Times defending the Pre-Raphaelites
Millais and his fellow artists approach Ruskin through their mutual friend Coventry Patmore; Millais's “Christ in the House of His Parents” (1849–50), which some considered blasphemous, at first fails to impress him, but in May 1851 he writes letters to The Times defending the Pre-Raphaelite Brotherhood.
1851–1853
The three-volume “Stones of Venice”
Growing from a technical history of Venetian architecture, from the Byzantine to the Renaissance, into a broad cultural history, the work is a warning to contemporary England about the moral and spiritual health of society: Ruskin explains the decline of Venice by the loss of true Christian faith. The chapter “The Nature of Gothic” from the second volume — a critique of the division of labour and industrial capitalism — will be published by William Morris as a separate book.
