Even though John Ruskin's effect has lengthy been said, his influence at the improvement of Anglo-American modernism has bought little systematic awareness. this can be the 1st examine in this courting, with participants studying Ruskin's connection to pre-modernist writers similar to Worringer and Pater and the significance of Ruskin's idea to modernists corresponding to Pound, Eliot, Lewis, and Lawrence and to highbrow historical past and architectural thought.
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For a thorough recent study of the Whistler–Ruskin battles, see Linda Merrill, A Pot of Paint: Aesthetics on Trial in Whistler versus Ruskin (Washington, DC: Smithsonian Institution Press, 1992). The classic, if biased account, appears in Whistler’s The Gentle Art of Making Enemies (New York: Dover Press, reprint of the Heinemann edition of 1892), titled ‘The Action’. 10 See Rosenberg, p. 207. 11 The Gentle Art of Making Enemies, p. 126. , p. 128. , p. 149. 14 Linda Merrill, who questions the ‘traditional story’ of Ruskin’s incapacity, suggests that ‘there is reason to suspect that by November 1878, the month of the trial, Ruskin was not as ill as his lawyers would have had Whistler – and future historians – believe’ (p.
119. FG, p. 41. In ‘Griechisch-Römisches’ (1924) Worringer opposes the Greek culture of becoming to the Roman culture of being, discussing their different styles in writing. Cf. Fragen und Gegenfragen (München: Piper, 1956), pp. 29–32. ‘Gothic architecture has external forms and internal elements. Its elements are certain mental tendencies of the builders, legibly expressed in it’ (NG: 10: 183). Ruskin also speaks of ‘moral’ or ‘imaginative’ elements (NG: 10: 184 and 245). In the sphere of scientific study Worringer requires ‘a method which treats all the facts of art merely as arrangements of certain a priori categories of artistic, or rather, of general psychic sensibility’ (FG, pp.
The pleasure we have in these geometrical figures of our own invention, is dependent for all its acuteness on the natural tendency impressed on us by our Creator to love the forms into which the earth He gave us to tread, and out of which He formed our bodies, knit itself as it was separated from the deep’ (‘The Material of Ornament’: 9: 271). 30 Ruskin and Modernism 38 SL III: 8, 102–3. The leaf is South, the crystal is North: ‘The ice spiculae of the North, and its broken sunshine, seem to have image in, and influence on, the work; and the leaves which, under the Italian’s hand, roll, and flow, and bow down over their black shadows, as in the weariness of noon-day heat, are, in the North, crisped and frost-bitten, wrinkled on the edges, and sparkling as if with dew’ (SL III: 8: 122).