"The drawings selected in this book from a distinguished private collection reveal new facets of a drawing activity that was clearly much more than a research tool. They provide a cross section of works requiring attention as expressions of a remarkable artistic talent offering many parallels with the freedom and individuality of the twentieth century. But Ruskin's drawing cannot be considered simply as the produce of a keen eye and highly developed aesthetic sense. His mind was always engaged as he drew and it is an important aim of this book to trace the memories, theories, passions and convictions associated with the subjects he chose to depict." --Book Jacket.

Known as a writer on art, architecture, nature, landscape, economics and history, John Ruskin (1819-1900) also produced extraordinary drawings and watercolours that offer insight into the workings of his mind and are testimony to the scrupulous attention he gave to everything that interested him. In his drawings, Ruskin revealed a range of emotional responses, from euphoric delight in pattern, colour and texture to utter despondency at what he came to perceive as the ultimate corruption of all things. Accompanying a landmark exhibition at the National Gallery of Canada, Ottawa, and National Galleries of Scotland, Edinburgh, in 2014, this book explores a private but hugely revealing aspect of Ruskin's creative life. -- from back cover.

This newest volume in Hudson Hills Press's acclaimed series about leading collections of master drawings presents sixty-eight great sheets, all reproduced in full-color, including many versos, from one of the finest college museums in America.

This exhibition highlights more than 150 master drawings from the Thaw Collection, one of the world?s finest private collections containing over 400 sheets. Assembled over the last fifty years, and made a promised gift to the Morgan in 1975, the collection has now been given in full to the museum by Life Trustee Eugene V. Thaw and his wife, Clare. 'Drawn to Greatness' focuses on pivotal artists and key moments in the history of draftsmanship. Works by major masters from the Renaissance to the modern era will be on view, including Mantegna, Rubens, Rembrandt, Canaletto, Piranesi, Watteau, Fragonard, Goya, Ingres, Turner, Daumier, Redon, Degas, Cézanne, Gauguin, van Gogh, Matisse, Picasso, and Pollock. 00Exhibition: Morgan Library and Museum, New York, USA (29.09.2017-07..01.2018) / Clark Art Institute, Williamstown, USA (03.02.-29.04.2018).

An innovative and lavishly illustrated account of the art, writings, and global influence of one of the 19th century's most influential thinkers This book presents an innovative portrait of John Ruskin (1819-1900) as artist, art critic, social theorist, educator, and ecological campaigner. Ruskin's juvenilia reveal an early embrace of his lifelong interests in geology and botany, art, poetry, and mythology. His early admiration of Turner led him to identify the moral power of close looking. In The Stones of Venice, illustrated with his own drawings, he argued that the development of architectural style revealed the moral condition of society. Later, Ruskin pioneered new approaches to teaching and museum practice. Influential worldwide, Ruskin's work inspired William Morris, founders of the Labour Party, and Mahatma Gandhi. Through thematic essays and detailed discussions of his works, this book argues that, complex and contradictory, Ruskin's ideas are of urgent importance today. Distributed for the Yale Center for British Art Exhibition Schedule: Yale Center for British Art (September 5-December 8, 2019)

One of 19th-century England's most respected artists and teachers presents 127 lessons that train both hand and mind in fundamentals of lines and circles, light and shade, perspective, and much more.

The Staatliche Graphische Sammlung in Munich houses one of the finest and most famous collections of drawings and prints in Germany, with holdings of around 400,000 works ranging from the fifteenth century to modernity. Published to accompany an exhibition at the Morgan Library and Museum in New York, 100 Master Drawings from Munich comprises lush full-color illustrations of over one hundred of the museum's works of art. Demonstrating the impressive depth and breadth of works owned by the Staatliche Graphische Sammlung, the works in this volume range from rough preparatory sketches to meticulously executed studies and encompass a variety of media, including silverpoint, chalk, ink, and aquarelle. Among the many extraordinary pieces are Old Dutch and German prints, nineteenth-century German drawings, and works by Dürer and Rembrandt. But equally not to be missed are the many compelling works of contemporary graphic art for which the museum is best known.

Rarely seen drawings by 64 masters, including Braque, CZzanne, Degas, Gauguin, Hugo, Klee, Manet, Matisse, Modigliani, Mondrian, Monet, Munch, Picasso, Renoir, Rodin, Rubens, Seurat, Toulouse-Lautrec, van Gogh and Watteau, are reproduced in this exceptional collection. Victor Chan provides a full biographical sketch of the individual masters and discusses their art.

The selection of drawings demonstrates how Raphael created a specific mode of visual invention and persuasive communication through drawing. He used drawing both as conceptual art (including brainstorming sheets) and as a practice based on attentive observation (such as drawing from the posed model). Yet Raphael's drawings also reveal how the process of drawing in itself, with its gestural rhythms and spontaneity, can be a form of thought, generating new ideas. The Oxford exhibition will present drawings that span Raphael's entire career, encompassing many of his major projects and exploring his visual language from inventive ideas to full compositions. The extraordinary range of drawings by Raphael in the Ashmolean and the Albertina, enhanced by appropriate loans, will enable this exhibition to cast new light on this familiar artist, transforming our understanding of Raphael's art.

I believe that (irrespective of differences in individual temper and character) the excellence of an artist, as such, depends wholly on refinement of perception, and that it is this, mainly, which a master or a school can teach; so that while powers of invention distinguish man from man, powers of perception distinguish school from school. All great schools enforce delicacy of drawing and subtlety of sight: and the only rule which I have, as yet, found to be without exception respecting art, is that all great art is delicate. I am nearly convinced, that when once we see keenly enough, there is very little difficulty in drawing what we see; but, even supposing that this difficulty be still great, I believe that the sight is a more important thing than the drawing; and I would rather teach drawing that my pupils may learn to love Nature, than teach the looking at Nature that they may learn to draw...