Quotes from book
Modern Painters

Modern Painters

John Ruskin

Modern Painters is a five-volume work by the eminent Victorian art critic, John Ruskin, begun when he was 24 years old. Ruskin argues that recent painters emerging from the tradition of the picturesque are superior in the art of landscape to the old masters. The book was primarily written as a defence of the later work of J.M.W. Turner. Ruskin used the book to argue that art should devote itself to the accurate documentation of nature. In Ruskin's view, Turner had developed from early detailed documentation of nature to a later more profound insight into natural forces and atmospheric effects. It was in his 1842 visit to Switzerland that Ruskin collected material used to form the basis of Vol One. Ruskin added later volumes in subsequent years. Volume two placed emphasis on symbolism in art, expressed through nature. The second volume was influential on the early development of the Pre-Raphaelite Brotherhood. He produced three more volumes, with the fifth and final volume appearing in 1860.

“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one.”

John Ruskin book Modern Painters

Volume III, part IV, chapter XVI (1856).
Modern Painters (1843-1860)

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

John Ruskin book Modern Painters

Volume V, part VIII, chapter III (1860).
Modern Painters (1843-1860)

“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.”

John Ruskin book Modern Painters

Volume III, part V, chapter II (1856).
Modern Painters (1843-1860)

“There are, indeed, two forms of discontent: one laborious, the other indolent and complaining. We respect the man of laborious desire, but let us not suppose that his restlessness is peace, or his ambition meekness. It is because of the special connection of meekness with contentment that it is promised that the meek shall "inherit the earth." Neither covetous men, nor the Grave, can inherit anything; they can but consume. Only contentment can possess.”

John Ruskin book Modern Painters

Volume V, part IX, chapter XI (1860).
Modern Painters (1843-1860)

“All violent feelings have the same effect. They produce in us a falseness in all our impressions of external things, which I would generally characterize as the "Pathetic Fallacy."”

John Ruskin book Modern Painters

Volume III, part IV, chapter XII (1856).
Modern Painters (1843-1860)
Variant: All violent feelings have the same effect. They produce in us a falseness in all our impressions of external things, which I would generally characterize as the pathetic fallacy.

“All true opinions are living, and show their life by being capable of nourishment; therefore of change. But their change is that of a tree — not of a cloud.”

John Ruskin book Modern Painters

Volume V, Preface (1860).
Modern Painters (1843-1860)

“In general, when the imagination is at all noble, it is irresistible, and therefore those who can at all resist it ought to resist it. Be a plain topographer if you possibly can; if Nature meant you to be anything else, she will force you to it; but never try to be a prophet.”

John Ruskin book Modern Painters

Volume III, part V, chapter II (1856).
Modern Painters (1843-1860)

“Other men used their effete faiths and mean faculties with a high moral purpose. The Venetian gave the most earnest faith, and the lordliest faculty, to gild the shadows of an antechamber, or heighten the splendours of a holiday.”

John Ruskin book Modern Painters

Volume V, part IX, chapter III, section 52 (1860).
Modern Painters (1843-1860)

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

John Ruskin book Modern Painters

Volume I, part I, chapter II, section 9 (1843).
Modern Painters (1843-1860)

“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.”

John Ruskin book Modern Painters

Volume III, part IV, chapter XII (1856).
Modern Painters (1843-1860)

“In general, pride is at the bottom of all great mistakes.”

John Ruskin book Modern Painters

Volume IV, part V, chapter III, section 22 (1856).
Modern Painters (1843-1860)

“It is only the basest writer who cannot speak of the sea without talking of "raging waves," "remorseless floods," "ravenous billows," etc.; and it is one of the signs of the highest power in a writer to check all such habits of thought, and to keep his eyes fixed firmly on the pure fact, out of which if any feeling comes to him or his reader, he knows it must be a true one.”

John Ruskin book Modern Painters

Volume III, part IV, chapter XII (1856).
Modern Painters (1843-1860)

“And thus, in full, there are four classes: the men who feel nothing, and therefore see truly; the men who feel strongly, think weakly, and see untruly (second order of poets); the men who feel strongly, think strongly, and see truly (first order of poets); and the men who, strong as human creatures can be, are yet submitted to influences stronger than they, and see in a sort untruly, because what they see is inconceivably above them. This last is the usual condition of prophetic inspiration.”

John Ruskin book Modern Painters

Volume III, part IV, chapter XII (1856).
Modern Painters (1843-1860)

“The power which causes the several portions of the plant to help each other, we call life. Much more is this so in an animal. We may take away the branch of a tree without much harm to it; but not the animal's limb. Thus, intensity of life is also intensity of helpfulness — completeness of depending of each part on all the rest. The ceasing of this help is what we call corruption; and in proportion to the perfectness of the help, is the dreadfulness of the loss. The more intense the life has been, the more terrible is its corruption.”

John Ruskin book Modern Painters

Volume V, part VIII, chapter 1, section 4 (1860).
Modern Painters (1843-1860)

“To invent a story, or admirably and thoroughly tell any part of a story, it is necessary to grasp the entire mind of every personage concerned in it, and know precisely how they would be affected by what happens; which to do requires a colossal intellect: but to describe a separate emotion delicately, it is only needed that one should feel it oneself; and thousands of people are capable of feeling this or that noble emotion, for one who is able to enter into all the feelings of someone sitting on the other side of the table.”

John Ruskin book Modern Painters

Volume III, part IV, chapter XVI (1856).
Modern Painters (1843-1860)

“The infinity of God is not mysterious, it is only unfathomable; not concealed, but incomprehensible; it is a clear infinity, the darkness of the pure unsearchable sea.”

John Ruskin book Modern Painters

Volume II, part III, chapter V (1846).
Modern Painters (1843-1860)

“There is never vulgarity in a whole truth, however commonplace. It may be unimportant or painful. It cannot be vulgar. Vulgarity is only in concealment of truth, or in affectation.”

John Ruskin book Modern Painters

Volume III, part IV, chapter VII (1856).
Modern Painters (1843-1860)

“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.”

John Ruskin book Modern Painters

Volume V, part VIII, chapter I, section 2 (1860).
Modern Painters (1843-1860)

“A monk of La Trappe, a French soldier of the Imperial Guard, and a thriving mill-owner, supposing each a type, and no more than a type, of his class, are all interesting specimens of humanity, but narrow ones, — so narrow that even all the three together would not make up a perfect man.”

John Ruskin book Modern Painters

Volume V, part IX, chapter XI (1860).
Modern Painters (1843-1860)

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