The study of Ruskin’s work and influence is now a feature of several critical disciplines. New Approaches to Ruskin, first published in 1981, reflects this, gathering some of the most distinguished writers on Ruskin and joining them with others who have undertaken significant research in the field of Ruskin studies. The authors were all specially commissioned for this volume and were chosen to represent as wide a variety of approaches as possible to this key figure of nineteenth-century culture. This book is ideal for students of art history.

The study of Ruskin’s work and influence is now a feature of several critical disciplines. New Approaches to Ruskin, first published in 1981, reflects this, gathering some of the most distinguished writers on Ruskin and joining them with others who have undertaken significant research in the field of Ruskin studies. The authors were all specially commissioned for this volume and were chosen to represent as wide a variety of approaches as possible to this key figure of nineteenth-century culture. This book is ideal for students of art history.

Ruskin, the great Victorian critics of art and society, had an enormous influence on his age and our own. A highly successful propagandist for the arts, he did much both to popularize high art and to bring it to the masses. A brilliant theorist and practical critics of realism, he also produced the finest nineteenth-century discussions of fantasy, the grotesque, and pictorial symbolism. Most who have written about this outstanding Victorian polymath have approached him either as literary critics or as art historians. In this book, which was first published in 1985, George P. Landow provides a more balanced view and offers a strikingly new approach which reveals that Ruskin wrote throughout his career as an interpreter, an exegete. His interpretations covered many fields of human experience and endeavour, not only paintings, poems, and buildings but also contemporary social issues, such as the discontent of the working classes.

This book concerns the values and practices of participation in municipal public parks, and the connections they have with cultural policy, urbanism, and social life. Adopting a critical cultural policy lens, it identifies the park as a mundane but extraordinarily treasured place for the production and exchange of cultural values, regulation, resistance, and the practising of citizenship. Drawing on extensive mixed-methods research on everyday participation in diverse local cultural ecosystems in England and Scotland, the book examines the social lives of parks and their users, and the important public values that are generated through their common stewardship and usership. It presents case studies of parks and co-located museums as cultural public spheres, which promote both commoning and commodification. These are contextualized by histories of municipal parkmaking from the nineteenth century to the present and related to the making of local government and to other civic and cultural institutions. The book highlights contemporary issues of austerity, marketisation and de-municipalisation within local government in the context of urban development. It positions the public park as fundamental to democratic cultural governance and makes the case for the primacy of public trust, ownership, and park equity in safeguarding the right to the city.

This book, first published in 1949, is an important work in Victorian studies, and directs light on Ruskin’s personal tragedy, his public life, and on the character of his work. This book will be of interest to students of history and cultural studies.

Ruskin connects his theories of art with economic and practical life. He contends that content artists who strive to capture nature will produce fine art, while despondent artists who rely on tools of the machine age will produce inferior art.

John Ruskin was one of the great Victorians established while still young as an arbiter of taste in painting and architecture and as one of the greatest of all writers of English prose. When he was forty he decided to abandon the field in which his reputation had been secured in order to awaken the world to the peril of devastation which, he believed, would follow its preoccupation with profit and its subservience to a false economic doctrine. He regarded his social criticism as a duty, reluctantly accepted, to a society which had abandoned the traditional and religious values that had been the foundation of its civilization. Ruskin's labour, to which he devoted the rest of his life, was to bring a searching intelligence, considerable learning and a moral concern to providing a ruthless criticism of the values of Victorian England.