Window in the Foscari Palace, Venice
Watercolour
1845 (made)
1845 (made)
| Artist/Maker | |
| Place of origin |
Object Type
Watercolour sketches of this kind were usually the first stage in the preparation of book illustrations. They were often highly coloured, even if the image was intended to be reproduced as a print in black and white.
People
Ruskin was one of the most influential writers on art and politics in the 19th century. His early writings, which advocated the work of J.M.W. Turner and Pre-Raphaelitism, and his enthusiasm for Medieval Gothic, had a major impact on painting and architecture. He was a good artist and draughtsman in his own right, as he had been taught by the watercolour painters Copley Fielding and James Duffield Harding. He wrote a major work of criticism entitled `The Stones of Venice' which was published in three volumes from 1851 to 1853.
Subjects Depicted
In 1845 Ruskin made meticulous sketches of details of Venetian architecture, and many (but not this one) were reproduced as illustrations to his book. Ruskin argued that Venetian Gothic architecture was a good example of a flourishing cultural unity, of a kind that had been almost lost in his own day, and he used the exquisite details found in the buildings of Venice to prove his case.
Watercolour sketches of this kind were usually the first stage in the preparation of book illustrations. They were often highly coloured, even if the image was intended to be reproduced as a print in black and white.
People
Ruskin was one of the most influential writers on art and politics in the 19th century. His early writings, which advocated the work of J.M.W. Turner and Pre-Raphaelitism, and his enthusiasm for Medieval Gothic, had a major impact on painting and architecture. He was a good artist and draughtsman in his own right, as he had been taught by the watercolour painters Copley Fielding and James Duffield Harding. He wrote a major work of criticism entitled `The Stones of Venice' which was published in three volumes from 1851 to 1853.
Subjects Depicted
In 1845 Ruskin made meticulous sketches of details of Venetian architecture, and many (but not this one) were reproduced as illustrations to his book. Ruskin argued that Venetian Gothic architecture was a good example of a flourishing cultural unity, of a kind that had been almost lost in his own day, and he used the exquisite details found in the buildings of Venice to prove his case.
Object details
| Categories | |
| Object type | |
| Title | Window in the Foscari Palace, Venice (published title) |
| Materials and techniques | Pencil and watercolour on paper |
| Brief description | Watercolour of a window in the Foscari Palace, John Ruskin, Venice, 1845 |
| Physical description | Drawing showing architectural details of a window in the Foscari Palace, Venice. |
| Dimensions |
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| Marks and inscriptions | Inscribed: 'Ca' Foscari No.4 September 1845' |
| Gallery label |
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| Object history | Painted in Italy by John Ruskin (born in London, 1819, died in Brantwood, Cumbria, 1900) |
| Place depicted | |
| Summary | Object Type Watercolour sketches of this kind were usually the first stage in the preparation of book illustrations. They were often highly coloured, even if the image was intended to be reproduced as a print in black and white. People Ruskin was one of the most influential writers on art and politics in the 19th century. His early writings, which advocated the work of J.M.W. Turner and Pre-Raphaelitism, and his enthusiasm for Medieval Gothic, had a major impact on painting and architecture. He was a good artist and draughtsman in his own right, as he had been taught by the watercolour painters Copley Fielding and James Duffield Harding. He wrote a major work of criticism entitled `The Stones of Venice' which was published in three volumes from 1851 to 1853. Subjects Depicted In 1845 Ruskin made meticulous sketches of details of Venetian architecture, and many (but not this one) were reproduced as illustrations to his book. Ruskin argued that Venetian Gothic architecture was a good example of a flourishing cultural unity, of a kind that had been almost lost in his own day, and he used the exquisite details found in the buildings of Venice to prove his case. |
| Bibliographic references |
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| Collection | |
| Accession number | D.1726-1908 |
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| Record created | March 27, 2003 |
| Record URL |
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