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Modern Painters Paperback – March 19, 2009

ISBN-13: 978-1103586585 ISBN-10: 1103586580

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--This text refers to an alternate Paperback edition.

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Product Details

  • Paperback: 232 pages
  • Publisher: BiblioLife (March 19, 2009)
  • Language: English
  • ISBN-10: 1103586580
  • ISBN-13: 978-1103586585
  • Product Dimensions: 8 x 0.5 x 5 inches
  • Shipping Weight: 8.8 ounces (View shipping rates and policies)
  • Average Customer Review: 2.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #10,424,296 in Books (See Top 100 in Books)

Editorial Reviews

From Library Journal

Ruskin, the Victorian-era British writer whose work had a profound influence on artists, art historians, and writers both during his life and after, wrote Modern Painters in five separate volumes published between 1843 and 1860. It is, among other things, an evaluation of individual painters, a religious statement, a discourse on nature, and a splendid example of Victorian prose style. The original text has been abridged into this one-volume edition, which preserves the essential points of Ruskin's argument and provides the modern reader with a satisfying sample of Ruskin's justly acclaimed prose. For general collections and research and academic collections in art, history, and literature. Kathryn W. Finkelstein, M.Ln., Cincinnati
Copyright 1988 Reed Business Information, Inc. --This text refers to the Hardcover edition.

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6 of 6 people found the following review helpful By Martin Asiner on December 30, 2009
John Ruskin considers the relationship that art has with those who appreciate it. He mentions in the two previous volumes of Modern Painters that there were two sources of pleasure for art lovers. The first source lay in the observer's enjoyment in viewing the simple resemblance of the art object to its original model in nature. The second source was the actual pleasure taken in the contemplation of the painted object. There was a third source which functioned as a link between the first two--the relation of the meaning of the painted object to the object itself. Ruskin wishes to use these various sources of pleasure to isolate those traits that mark some artists as great and others as mediocre.

Ruskin admits that there are various unavoidable difficulties in setting up a systematic approach whose purpose it would be to accomplish his goal; instead, he suggests that his careful arrangement of chapters in Modern Painters will make the answer readily apparent.

He is quick to point out that the greatest art includes the greatest ideas, but he is still left with the central question of some basic definitions: "What is it that makes one truth greater than another, one thought greater than another?" The answer, he states, may rest in the historical division between the Great Art School of Theory and the Low Art School of Theory. The former connotes "a certain noble manner of painting, which it was desirable that all students of Art should be early led to reverence and adopt." By contrast, the latter is synonymous with "vulgar, low, or realist," which in terms of painting and conceiving "was equally necessary that all students should be taught to avoid." One obvious flaw to Ruskin was the inherent limits of such a twin level categorization.
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8 of 9 people found the following review helpful By G. Perez-Barreiro on July 13, 2009
Format: Paperback
This is a classic text, but unfortunately this edition is a poorly-made facsimile of an unsourced original. The result is that the type is so small and badly printed that it is virtually illegible. It has none of the charm of a real facsimile, but seems more like a bad xerox copy.
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