Trevi Fountain (1841) je slika po kojoj je Džon Raskin najpoznatiji. Ravine at Maglans, Valley of Cluse (1849) i Aiguille Charmoz, Chamounix (1849) upotpunjuju triju najomiljenijih platna. Naš katalog sadrži 95 dela umetnika Džon Raskin. Evo 95 najpoznatijih, sa godinom nastanka, muzejom i pričom o svakom platnu.
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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…
Naručite ovo platno →Četiri teme koje se najčešće pojavljuju na ovim platnima, svaka sa svojim najomiljenijim primerom.
5 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Džon Raskin | Slike iz ovog spiska |
|---|---|---|---|
 Birmingham Museum and Art Gallery |
Birmingem | 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 |
 Isabella Stewart Gardner Museum |
Boston | 1 | The Casa Loredan, Venice |
 Narodni muzej u Varšavi |
Varšava | 1 | The Walls of Lucerne |
 Indianapolis Museum of Art |
Indijanapolis | 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), a zatim Ravine at Maglans, Valley of Cluse (1849) i Aiguille Charmoz, Chamounix (1849).
Džon Raskin, rođen/a 1819, imao/la je 22 godina: Trevi Fountain datira iz 1841.
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 i Ca d. Svako platno u gornjem rangiranju sadrži godinu nastanka i naziv muzeja.
U našem katalogu se nalazi 95 dela umetnika Džon Raskin, datiranih od 1835 do 1882.
Većinom u Birmingham Museum and Art Gallery (Birmingem), Abbot Hall Art Gallery (Kendall) i Isabella Stewart Gardner Museum (Boston); gornja lista navodi svaki muzej i njegova platna.
U 1840s, koji obuhvata 28 od 95 dela na ovoj stranici, među njima je i Trevi Fountain.
Najstarije platno ovde je iz Coal Merchant's House in Market Street, Croydon (1835) godine; najnovije je iz Detail of Carved Pillar from East Door, Baptistery, Pisa (1882) godine.
Landscape (7), Mountains (5) i People (4), kroz svih 95 dela na ovoj stranici.
Drawing, korišćeno u 3 od 95 dela na ovoj stranici.
Romanticism, kao što pokazuju platna na ovoj stranici.
Muzej Birmingham Museum and Art Gallery, Birmingem čuva 16 dela sa ove stranice, među kojima su i Dumbarton Castle, Coal Merchant's House in Market Street, Croydon i View of the Bay of Naples and Vesuvius.
Da. Svaku sliku sa ove stranice možete naručiti sa njene posebne stranice kao ručno oslikano ulje na platnu ili kao umetnički print, u veličini koju odaberete.
