An art historian, cultural critic and political theorist, John Ruskin was, above all, a great educator. The inspiration behind William Morris, Leo Tolstoy, Marcel Proust and Mahatma Gandhi, Ruskin’s influence can be felt increasingly in every sphere education today. John Ruskin and Nineteenth-Century Education brings together top international Ruskin scholars, exploring Ruskin’s many-faceted writings, pointing to some of the key educational issues raised by his work, and concluding with a powerful rereading of his ecological writing and apocalyptic vision of the earth’s future. In anticipation of the bicentennial of Ruskin’s birth in 2019, this volume makes a fresh and significant contribution to Victorian studies in the twenty-first century. It is dedicated to Dinah Birch, a much-loved Victorian specialist and authority on John Ruskin.

John Ruskin (1819-1900) was considered the greatest critic of art, culture, and society of the nineteenth century. Throughout his life, from his undergraduate days in the 1830s to his service asthe University's first Slade professor of Art in the 1870s and 1880s, Oxford profoundly influenced the course of his career. He proved a controversial Professor, and when he broke with the University, an angry and disappointed man, even his closest friends must have been relieved to see him go. Yet in the hundred years since then, the value of his contribution has come to be better appreciated. This lavishly illustrated study, based on an exhibition at the Ashmolean Museum explains Ruskin's true intentions in founding the Ruskin School of Drawing at Oxford, and describes his lifelong commitment to the art of drawing, and to its value as an educational tool. The story is told through Ruskin's own drawings, and the work of those he chose to help him in a project that was central to hissocial and critical beliefs.

Focusing on John Ruskin as a teacher and on his greatest educational work, Fors Clavigera, Sara Atwood examines Ruskin's varied roles in education, the development of his teaching philosophy and style, and his vision for educational reform. Atwood maintains that the letters of Fors Clavigera constitute not only a treatise on education but a dynamic educational experiment, serving to set forth Ruskin's ideas about education while simultaneously educating his readers according to those very ideas. Closely examining Ruskin's life and writings, her argument traces the development of his moral aesthetic and increasing involvement in social reform; his methods and approach as an art instructor; and his dissatisfaction with contemporary educational practice. A chapter on Ruskin's legacy takes account of his influence on late Victorian and Edwardian educators, including J. H. Whitehouse and the Bembridge School; the Ruskin colonies in Tennessee, Florida, and Georgia; and the relevance of Ruskin's ideas to ongoing educational debates about teacher pay, state/national testing, retention, and the theory of the competent child. Historically well-grounded and forcefully argued, Atwood's study is not only a valuable contribution to scholarship on Ruskin and the Victorian period but an enjoinder for us to reconsider how Ruskin's educational philosophy might be of benefit today.

Introduction Two conflicting tendencies in Ruskin. It is distinctive of the nineteenth century that in its passion for criticising everything in heaven and earth it by no means spared to criticise itself. Alike in Carlyle's fulminations against its insincerity, in Arnold's nice ridicule of Philistinism, and in Ruskin's repudiation of everything modern, we detect that fine dissatisfaction with the age which is perhaps only proof of its idealistic trend. For the various ills of society, each of these men had his panacea. What Carlyle had found in hero-worship and Arnold in Hellenic culture, Ruskin sought in the study of art; and it is of the last importance to remember that throughout his work he regarded himself not merely as a writer on painting or buildings or myths or landscape, but as the appointed critic of the age. For there existed in him, side by side with his consuming love of the beautiful, a rigorous Puritanism which was constantly correcting any tendency toward a mere cult of the aesthetic. It is with the interaction of these two forces that any study of the life and writings of Ruskin should be primarily concerned. I THE LIFE OF RUSKIN Ancestry. It is easy to trace in the life of Ruskin these two forces tending respectively toward the love of beauty and toward the contempt of mere beauty. They are, indeed, present from the beginning. He inherited from his Scotch parents that upright fearlessness which has always characterized the race. His stern mother "devoted him to God before he was born," and she guarded her gift with unremitting but perhaps misguided caution. The child was early taught to find most of his entertainment within himself, and when he did not, he was whipped. He had no playmates and few toys. His chief story-book was the Bible, which he read many times from cover to cover at his mother's knee. His father, the "perfectly honest wine-merchant," seems to have been the one to foster the boy's aesthetic sense; he was in the habit of reading aloud to his little family, and his son's apparently genuine appreciation of Scott, Pope, and Homer dates from the incredibly early age of five. It was his father, also, to whom he owed his early acquaintance with the finest landscape, for the boy was his companion in yearly business trips about Britain, and later visited, in his parents' company, Belgium, western Germany, and the Alps. Early education. All this of course developed the child's precocity. He was early suffered and even encouraged to compose verses; by ten he had written a play, which has unfortunately been preserved. The hot-house rearing which his parents believed in, and his facility in teaching himself, tended to make a regular course of schooling a mere annoyance; such schooling as he had did not begin till he was fifteen, and lasted less than two years, and was broken by illness. But the chief effect of the sheltered life and advanced education to which he was subjected was to endow him with depth at the expense of breadth, and to deprive him of a possibly vulgar, but certainly healthy, contact with his kind, which, one must believe, would have checked a certain disposition in him to egotism, sentimentality, and dogmatic vehemence....

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Reproduction of the original: The Storm-Cloud of the Nineteenth Century, Two Lectures delivered at the London Institution February 4th and 11th, 1884 by John Ruskin

The influence of John Ruskin (1819-1900), both on his own time and on artistic and social developments in the twentieth century, cannot be over-stated. He changed Victorian perceptions of art, and was the main influence behind 'Gothic revival' architecture. As a social critic, he argued for the improvement of the condition of the poor, and against the increasing mechanisation of work in factories, which he believed was dull and soul-destroying. The thirty-nine volumes of the Library Edition of his works, published between 1903 and 1912, are themselves a remarkable achievement, in which his books and essays - almost all highly illustrated - are given a biographical and critical context in extended introductory essays and in the 'Minor Ruskiniana' - extracts from letters, articles and reminiscences both by and about Ruskin. This fourteenth volume contains Ruskin's 'Academy Notes' and other writings on painting and painters.

John Ruskin (1819-1900) is best known for his work as an art critic and social critic, but is remembered as an author, poet and artist as well. Ruskin's essays on art and architecture were extremely influential in the Victorian and Edwardian eras. Ruskin's range was vast. He wrote over 250 works which started from art history, but expanded to cover topics ranging over science, geology, ornithology, literary criticism, the environmental effects of pollution, and mythology. In 1848, he married Effie Gray, for whom he wrote the early fantasy novel The King of the Golden River. After his death Ruskin's works were collected together in a massive "library edition," completed in 1912 by his friends Edward Cook and Alexander Wedderburn. Its index is famously elaborate, attempting to articulate the complex interconnectedness of his thought. His other works include: Giotto and his Works in Padua (1854), The Harbours of England (1856), "A Joy for Ever" (1857), The Ethics of the Dust (1866) and Hortus Inclusus.

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