Ruskin's Artists

’all are good; some, outstanding.’ Choice ’No reader could come away from this book without an enhanced sense of Ruskin’s integrity and idealism.’ Peter Faulkner, The Journal of the William Morris Society '... Hewison's collection provides fresh insights into the visual economy of the Victorian period... The range of material covered in [this] excellent critical work makes us acutely aware of what an influential and towering figure Ruskin was throughout most of the nineteenth century...' Cynthia J. Gamble, Nineteenth-Century Contexts

• Contents: Preface; Introduction Father and son: the Ruskin family art collection, Robert Hewison; ’Candid and earnest’: the rise of the art critic in the early nineteenth century, Claire Wildsmith; The ’dark clue’ and the Law of Help: Ruskin, Turner, and the Liber Studiorum, Alan Davis; Ruskin and the Gothic Revival: his research on Venetian Architecture, Robert Hewison; Ruskin and Millais at Glenfinlas, Alastair Grieve; Pre-Raphaelite intimacy: Ruskin and Rossetti, Elizabeth Helsinger; The The Light of the World as ’true sacred art’: Ruskin and William Holman Hunt, Michael Wheeler; ’Archangel’ Veronese: Ruskin as Protestant spectator, Andrew Tate; ’According to the requirements of his scholars’: Ruskin, drawing and art education, Ray Haslam; The ’woman question’: Ruskin and the female artist, Pamela Gerrish Nunn; Ruskin and the Pre-Raphaelite imagination in the 1870s: art, politics and the female body, Francis O’Gorman; Painter and professor: the response of Albert Goodwin to the aesthetics of John Ruskin, David Wootton; The critic as autobiographer: Ruskin and his artists, Dinah Birch; References; Index.