Trevi Fountain (1841)は、ジョン・ラスキンの代表作として最もよく知られています。 Ravine at Maglans, Valley of Cluse (1849)とAiguille Charmoz, Chamounix (1849)が加わり、最も愛されている3枚のキャンバスが揃いました。 ジョン・ラスキンによる作品は、当カタログに95点収められています。ここでは、制作年、所蔵美術館、そして各作品の背景とともに、最も有名な95点をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：10月 2026 このページに掲載されている各作品は、リネンキャンバスに手描きで制作する油彩複製画、またはご希望のサイズに合わせて作成するファインアートプリントとしてご注文いただけます。
In this evocative depiction of the Trevi Fountain, we are transported to the heart of Rome during a pivotal moment in the nineteenth century. The painting captures the monumental Baroque masterpiece not merely as a static architectural feat, but as a living, breathing entity. Through John Ruskin’s observant eye, the fountain emerges from its stone surroundings with a sense of profound vitality. The composition is anchored by the majestic presence…
The painting Ravine at Maglans, Valley of Cluse presents a dramatic mountainous landscape characterized by rugged, rocky terrain. The composition is defined by a sense of movement and dynamism, guiding the viewer's eye through the expansive scenery. Within this natural setting, a large bird is depicted in the foreground, appearing to fly over the mountains, while several smaller birds are scattered throughout the scene, providing a sense of depth.
The watercolor depicts the rugged terrain of the Aiguille Charmoz in the Chamounix region. Snow-capped mountain peaks rise into a pale sky, their jagged edges defined by varying shades of white and grey. Below these summits, the slopes are populated by numerous figures, at least thirteen in total, scattered across the incline. These individuals appear in various positions, some situated in the foreground and others positioned further up the mountain…
During the visits of 1849-50 and 1851-52 Ruskin spent two winters collecting material for The Stones of Venice, a work which proved to be very influential within the development of Victorian architecture.This architectural notebook, known as the ‘Door Book,’ is one of the series of ten which Ruskin used to record details and measurements of aspects of architectural features, carefully cross referencing them with worksheets and drawings. The smaller notebooks…
Ruskin’s largest and most famous architectural watercolour, this was the most important product of his stay in Venice over the winter of 1876-77. If the Ducal Palace was to him “the central building of the world,” then the basilica of St Mark came as close as it stands in reality, “the most magical and most mysterious of churches.” It provided the subject for dozens of drawings in connection with The…
In the delicate interplay of light and pigment that defines The Walls of Lucerne, we encounter the profound mastery of John Ruskin at the height of his creative powers. Created in 1866, this watercolor serves as a breathtaking window into the heart of Switzerland, capturing not merely a landscape, but a fleeting moment of atmospheric perfection. The composition centers on the imposing architectural grandeur of the town walls, where the…
In the delicate, precise lines of John Ruskin’s 1845 work, Ca d'Oro, we find more than just a depiction of Venetian architecture; we encounter a poignant eulogy for a fading era. Created during a transformative and turbulent period in Venice, this piece captures the Casa d’Oro at a moment of profound vulnerability. As Ruskin traversed the canals in 1845, he was not merely an observer of beauty but a witness…
In the quiet, observant moments of 1848, amidst a journey through the heart of northern France, John Ruskin captured more than just architecture; he captured the very soul…
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In the quiet, silvered tones of this exquisite drawing, we find ourselves transported to the upper reaches of Venice's Grand Canal during the winter of 1876. This piece,…
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In 1840/1841 the Ruskins undertake a tour of France, Italy and Switzerland. After spending most of December in Rome they arrive in Naples on the 9th January 1841…
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Ruskin travelled with his parents through France and Italy on a tour between autumn and winter 1840 and spring of 1841. Working their way along the coast of…
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Following his visit in 1845, Ruskin provided a number of notes on Italian art and architecture for the third edition of Murray’s Handbook for Travellers in Northern Italy,…
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Inscribed in black ink:
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Inscribed: J. Ruskin56. Sketch by a Cleark of the WorksJ. EmslieAndre & Sleigh, Sc.The illustration plate, ‘Sketch by a Clerk of the Works’, is taken from the end…
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This panorama of the Jura captures the essence of the view. Ruskin loved travelling in the Jura mountains, and often thought of what it would be like to…
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Ruskin was perennially interested in the appearance and action of clouds, recording in drawings unusual effects both at home and abroad. Part VII of Modern Painters, volume V…
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In their tour of 1838 the Ruskins extended their normal route into Scotland to explore the land of Sir Walter Scott. The date on this drawing conflicts with…
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Ruskin made dozens of large-scale drawings like this during the 1840-41 tour to Italy with his parents, basing his style on the work of the topographical artist David…
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This volume of diary notebook begins in 1846. Primarily an account of his tour abroad, devoted to architecture and detailing his journey with his parents through France and…
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In contrast with the medieval sculpted capitals on the Ducal Palace, Ruskin thought the later Renaissance carvings “base.” He made an exception for the 36th and final capital,…
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Abbeville had been one of Ruskin’s favourite haunts since his first visit on the continental tour of 1835. He particularly admired the late Gothic style in evidence at…
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This drawing depicts what is now the Guildhall Museum, on the corner of Fisher Street and the Greenmarket. Dating from the late fourteenth or early fifteeenth century, this…
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In an early tour of Switzerland taken in 1835, Ruskin described the scene at Lucerne: ‘the whole chain of mountains round the lake, from Righi to the magnificent…
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Ruskin’s decision to return to Venice for the winter of 1876-7 was partly motivated by a plan to revise The Stones of Venice, ‘gathering bits up’ again of…
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Possibly dating from the spring of 1846, this study shows the whole façade of a palace on the lower reach of the Grand Canal, between the Accademia and…
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Of all aspects of medieval architecture, Ruskin delighted most in what he termed the Gothic workman’s “peculiar fondness for the forms of Vegetation.” This he found both in…
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Ruskin’s Alpine Reverie: A Study in Texture and Moral Vision John Ruskin's "Chamouni, Rocks and Vegetation," painted in 1854, stands as a testament to the Pre-Raphaelite movement’s fascination…
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このページに掲載されている絵画を最も多く所蔵している 5 の美術館
| 美術館 | 都市 | ジョン・ラスキンの作品 | このリストの絵画 |
|---|---|---|---|
 バーミンガム博物館・美術館 |
バーミンガム | 16 | Dumbarton Castle, Coal Merchant's House in Market Street, Croydon, View of the Bay of Naples and Vesuvius |
 Abbot Hall Art Gallery |
Kendall | 2 | Dawn, Coniston, Chamouni, Rocks and Vegetation |
 イザベラ・スチュワート・ガードナー美術館 |
ボストン | 1 | The Casa Loredan, Venice |
 ワルシャワ国立博物館 |
ワルシャワ | 1 | The Walls of Lucerne |
 インディアナポリス美術館 |
インディアナポリス | 1 | Bernese Oberland |
In this evocative depiction of the Trevi Fountain, we are transported to the heart of Rome during a pivotal moment in the nineteenth century. The painting captures the…
In the delicate interplay of light and pigment that defines The Walls of Lucerne, we encounter the profound mastery of John Ruskin at the height of his creative…
Ruskin’s largest and most famous architectural watercolour, this was the most important product of his stay in Venice over the winter of 1876-77. If the Ducal Palace was…
Trevi Fountain (1841)、次いでRavine at Maglans, Valley of Cluse (1849)、そしてAiguille Charmoz, Chamounix (1849)。
1819年に生まれたジョン・ラスキンは22歳でした：Trevi Fountainは1841年の作品です。
Trevi Fountain, Ravine at Maglans, Valley of Cluse, Aiguille Charmoz, Chamounix, The Casa Loredan, Venice, Architectural Notebook ‘Door Book’ (p21), Mont Dauphiny, near Chartreuse, Fribourg, North West Porch of St Mark, The Walls of Lucerne と Ca d。上記のランキングに掲載されている各キャンバスには、制作年と所蔵美術館が記載されています。
ジョン・ラスキンによる作品が95点、1835年から1882年にかけてのものがカタログに掲載されています。
主にバーミンガム博物館・美術館 (バーミンガム), Abbot Hall Art Gallery (Kendall) と イザベラ・スチュワート・ガードナー美術館 (ボストン)に所蔵されています。上記のリストには、各美術館とその所蔵作品が記載されています。
このページに掲載されている全95作品のうち、28作品が1840sの作品であり、その中にはTrevi Fountainが含まれます。
ここにある最も古いキャンバスはCoal Merchant's House in Market Street, Croydon (1835)、最も新しいものはDetail of Carved Pillar from East Door, Baptistery, Pisa (1882)です。
このページに掲載されている95点の作品におけるLandscape (7), Mountains (5) と People (4)
このページに掲載されている全95作品のうち、3作品にDrawingが使用されています。
このページに並ぶキャンバスが示す通り、Romanticism
バーミンガム博物館・美術館, バーミンガムには、このページに掲載されている作品のうち16点が所蔵されており、その中にはDumbarton Castle, Coal Merchant's House in Market Street, Croydon と View of the Bay of Naples and Vesuviusも含まれています。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、手書きの油彩複製画、またはお好みのサイズでのファインアートプリントとしてご注文いただけます。
