17 John Ruskin Quotes on Art

John Ruskin quotes on art

4. Fine art is that in which the hand, the head, and the heart of man go together.

6. There is but one question ultimately to be asked respecting every line you draw, Is it right or wrong? If right, it most assuredly is not a 'free' line, but an intensely continent, restrained and considered line; and the action of the hand in laying it is just as decisive, and just as 'free' as the hand of a first-rate surgeon in a critical incision.

10. For when we are interested in the beauty of a thing, the oftener we can see it the better; but when we are interested only by the story of a thing, we get tired of hearing the same tale told over and over again, and stopping always at the same point - we want a new story presently, a newer and better one - and the picture of the day, and novel of the day, become as ephemeral as the coiffure or the bonnet of the day. Now this spirit is wholly adverse to the existence of any lovely art. If you mean to throw it aside to-morrow, you can never have it to-day.

14. Engraving is, in brief terms, the Art of Scratch.

16. Of all the bete, clumsy, blundering, boggling, baboon-blooded stuff I ever saw on a human stage, that thing last night beat - as far as the acting and story went - and of all the affected, sapless, soulless, beginningless, endless, topless, bottomless, topsiturviest, tuneless and scrannelpipiest - tongs and boniest - doggerel of sounds I ever endured the deadliness of, that eternity of nothing was the deadliest, so far as the sound went. I never was so relieved, so far as I can remember in my life, by the stopping of any sound - not excepting railway whistles - as I was by the cessation of the cobbler's bellowing.

25. In old times, men used their powers of painting to show the objects of faith; in later times, they used the objects of faith that they might show their powers of painting.

26. Of all God's gifts to the sight of man, colour is the holiest, the most divine, the most solemn.

29. We are to remember, in the first place, that the arrangement of colours and lines is an art analogous to the composition of music, and entirely independent of the representation of facts. Good colouring does not necessarily convey the image of anything but itself. It consists of certain proportions and arrangements of rays of light, but not in likeness to anything. A few touches of certain greys and purples laid by a master's hand on white paper will be good colouring; as more touches are added beside them, we may find out that they were intended to represent a dove's neck, and we may praise, as the drawing advances, the perfect imitation of the dove's neck. But the good colouring does not consist in that imitation, but in the abstract qualities and relations of the grey and purple.

32. He is the greatest artist who has embodied, in the sum of his works, the greatest number of the greatest ideas.

35. The word 'Blue' does not mean the sensation caused by a gentian on the human eye; but it means the power of producing that sensation: and this power is always there, in the thing, whether we are there to experience it or not, and would remain there though there were not a man left on the face of the earth.

42. It is not possible to find a landscape, which if painted precisely as it is, will not make an impressive picture. No one knows, till he has tried, what strange beauty and subtle composition is prepared to his hand by Nature.

45. Expression, sentiment, truth to nature, are essential: but all those are not enough. I never care to look at a picture again, if it be ill composed; and if well composed I can hardly leave off looking at it.

47. In painting as in eloquence, the greater your strength, the quieter your manner.

56. Life without industry is guilt, and industry without art is brutality.

58. The entire vitality of art depends upon its being either full of truth, or full of use; and that, however pleasant, wonderful, or impressive it may be in itself, it must yet be of inferior kind, and tend to deeper inferiority, unless it has clearly one of these main objects, - either to state a true thing, or to adorn a serviceable one.

59. In all base schools of art, the craftsman is dependent for his bread on originality; that is to say, on finding in himself some fragment of isolated faculty, by which his work may be distinct from that of other men. We are ready enough to take delight in our little doings, without any such stimulus; - what must be the effect of the popular applause which continually suggests that the little thing we can separately do is as excellent as it is singular; and what the effect of the bribe, held out to us through the whole of life, to produce - it being also in our peril not to produce - something different from the work of our neighbors?

72. Ruskin's special gift was the feeling for beauty, in nature as in art. It was in Beauty that his nature led him to seek reality, and his entirely religious life received from it an entirely aesthetic use. But this Beauty to which he thus happened to dedicate his life was not conceived by him as an object of enjoyment made to charm, but as a reality infinitely more important than life, for which he would have given his own life. From this, as you will see, the whole aesthetic system of Ruskin follows. First, you will understand that the years when he became acquainted with a new school of architecture or of painting were the principal landmarks in the development of his ethics. He would speak of the years when Gothic art presented itself to him with the same gravity, the same emotional nostalgia, the same serenity with which a Christian speaks of the day the truth was revealed to him.