In the vibrant art scene of Victorian England, John Ruskin emerged as a towering figure, fundamentally reshaping the landscape of art criticism. His profound insights and eloquent prose not only defended groundbreaking artists like J.M.W. Turner but also established a framework for understanding art that emphasized truth, morality, and the profound connection between nature and artistic expression. Ruskin’s work, particularly his monumental series Modern Painters, became a cornerstone of 19th-century art theory and continues to influence art historical perspectives today.
The Romantic Foundation of John Ruskin’s Criticism
John Ruskin’s critical approach was deeply rooted in the Romantic movement, a shift in intellectual and artistic thought that valued emotion, individualism, and the sublime power of nature. This contrasted sharply with the Neoclassical emphasis on reason, order, and classical ideals that had dominated art criticism previously. Ruskin championed the Romantic notion of “particular truth” over the Neoclassical “general truth.” He believed that true artistic merit lay not in adhering to idealized forms but in the faithful and detailed representation of the natural world as perceived by the individual artist. This philosophical underpinning was crucial to his defense of artists like Turner, who were breaking away from traditional artistic conventions.
Defending Turner and Redefining Landscape Painting
John Ruskin’s Modern Painters, initiated in 1843, was conceived primarily as a passionate defense of J.M.W. Turner’s innovative landscape paintings. Turner’s later works, with their focus on light, atmosphere, and evocative color, were often criticized by Neoclassical critics for lacking accuracy and deviating from established artistic norms. Ruskin, however, meticulously analyzed Turner’s art, drawing upon his own extensive knowledge of geology, botany, and meteorology to demonstrate the profound “truth” in Turner’s depictions of nature.
He systematically addressed various aspects of Turner’s artistry, dedicating chapters to “truth of tone,” “truth of colour,” “truth of space,” “truth of skies,” “truth of earth,” “truth of water,” and “truth of vegetation.” Ruskin argued that Turner’s seemingly abstract or unconventional techniques were, in fact, grounded in an unparalleled understanding of the nuances of the natural world. This detailed and rigorous analysis in Modern Painters positioned Turner as not just a contemporary artist but as one of the greatest painters in the Western canon, celebrating the English landscape painting tradition as a leading force in modern art.
A promotional still from a video discussing the controversial nature of James McNeill Whistler’s painting, “Nocturne in Black and Gold, the Falling Rocket,” highlighting the art world’s differing opinions in Victorian England.
John Ruskin’s Prose and Public Engagement
Understanding that access to art was limited for many in Victorian England, John Ruskin crafted a distinctive and evocative prose style to bridge the gap between the visual arts and the reading public. Inspired by Romantic literary figures like Charles Lamb and Sir Walter Scott, as well as the rhetorical power of the Bible and the poetic rhythm of William Wordsworth, Ruskin developed a writing style that was richly descriptive and emotionally resonant. His prose aimed to recreate the sensory and emotional experience of viewing art, making it accessible and engaging for a broader audience.
Through his vivid descriptions and passionate arguments, John Ruskin effectively introduced art appreciation to the burgeoning middle classes of the English-speaking world. He understood that this demographic, often influenced by Puritanical values, might be wary of art that emphasized mere sensual pleasure. To counter this, Ruskin presented painting not as mere decoration, but as “a noble and expressive language, invaluable as the vehicle of thought.”
Art as a Moral and Spiritual Language: Ruskin’s Vision
For John Ruskin, art, particularly Romantic landscape painting, served as a conduit for spiritual and moral understanding. He saw in nature a “Wordsworthian sense of divine presence,” arguing that the natural world was imbued with a moral and spiritual significance. Ruskin believed that artists had a responsibility to approach nature with sincerity and humility, seeking to “penetrate her meaning, and remember her instruction.” He advocated for an art that was not just aesthetically pleasing but also ethically grounded, reflecting a deep connection to the divine order manifest in the natural world.
In contrast to the burgeoning “art-for-art’s-sake” or Aesthetic movement, John Ruskin championed a “Theoretic” conception of art. This perspective, articulated in the second volume of Modern Painters (1846), emphasized the didactic and moral purpose of art over purely aesthetic concerns. Despite personal relationships with figures within the Aesthetic movement, Ruskin remained a staunch advocate for art that served a higher moral and social purpose throughout his influential career.
In conclusion, John Ruskin’s contribution to art criticism extends far beyond his defense of Turner. He provided a comprehensive framework for understanding art within a Romantic, morally informed, and spiritually resonant context. His writings not only shaped Victorian art discourse but continue to offer valuable insights into the relationship between art, nature, and human values, solidifying his legacy as a pivotal figure in the history of art criticism.
