New Releases by John Ruskin

In "The King of the Golden River; or, the Black Brothers: A Legend of Stiria," John Ruskin weaves a captivating fairy tale steeped in moral allegory and rich symbolism. Written in a lyrical and ornate style, this novella presents the struggle between good and evil through the fateful encounters of three brothers over a hidden treasure. Set against an ethereal backdrop inspired by the Alpine region of Styria, Ruskin''s narrative not only entertains but also serves as a critique of moral greed and the corrupting influence of wealth, embodying the Victorian ethos of social responsibility and the reverence for nature. John Ruskin (1819-1900) was a prominent thinker, art critic, and social theorist whose passionate advocacy for beauty and moral integrity greatly influenced the cultural landscape of 19th-century England. His deep appreciation for the natural world and medieval craftsmanship profoundly informed his writing, leading him to create works that bridge art, morality, and philosophy. Inspired by his travels and his belief in the interconnectedness of humanity and nature, Ruskin crafted this tale to illuminate the consequences of avarice and the virtues of selflessness, which resonate with his broader socio-economic ideals. I highly recommend "The King of the Golden River" for readers seeking a richly allegorical narrative that transcends mere fairy tale conventions. The story offers profound reflections on virtue, love, and the balance between humanity and nature. In this timeless legend, one discovers not only a captivating story but also a moral compass that continues to guide the discussions of ethics and responsibility in modern society.

Reproduction of the original: The Elements of Drawing by John Ruskin

Reproduction of the original: Modern Painters by John Ruskin

Reproduction of the original: Lectures on Art by John Ruskin

The King of the Golden River or The Black Brothers: A Legend of Stiria by John Ruskin was originally written in 1841 for the twelve-year-old Effie (Euphemia) Gray, whom Ruskin later married. It was published in book form in 1851, and became an early Victorian classic which sold out three editions. In the "Advertisement to the First Edition", which prefaces it, it is called a fairy tale,

"The King of the Golden River" is a delightful fairy tale told with all Ruskin''s charm of style, his appreciation of mountain scenery, and with his usual insistence upon drawing a moral. None the less, it is quite unlike his other writings. All his life long his pen was busy interpreting nature and pictures and architecture, or persuading to better views those whom he believed to be in error, or arousing, with the white heat of a prophet''s zeal, those whom he knew to be unawakened. There is indeed a good deal of the prophet about John Ruskin. Though essentially an interpreter with a singularly fine appreciation of beauty, no man of the nineteenth century felt more keenly that he had a mission, and none was more loyal to what he believed that mission to be. While still in college, what seemed a chance incident gave occasion and direction to this mission. A certain English reviewer had ridiculed the work of the artist Turner. Now Ruskin held Turner to be the greatest landscape painter the world had seen, and he immediately wrote a notable article in his defense. Slowly this article grew into a pamphlet, and the pamphlet into a book, the first volume of "Modern Painters." The young man awoke to find himself famous. In the next few years four more volumes were added to "Modern Painters," and the other notable series upon art, "The Stones of Venice" and "The Seven Lamps of Architecture," were sent forth. Then, in 1860, when Ruskin was about forty years old, there came a great change. His heaven-born genius for making the appreciation of beauty a common possession was deflected from its true field. He had been asking himself what are the conditions that produce great art, and the answer he found declared that art cannot be separated from life, nor life from industry and industrial conditions. A civilization founded upon unrestricted competition therefore seemed to him necessarily feeble in appreciation of the beautiful, and unequal to its creation. In this way loyalty to his mission bred apparent disloyalty. Delightful discourses upon art gave way to fervid pleas for humanity. For the rest of his life he became a very earnest, if not always very wise, social reformer and a passionate pleader for what he believed to be true economic ideals. There is nothing of all this in "The King of the Golden River." Unlike his other works, it was written merely to entertain. Scarcely that, since it was not written for publication at all, but to meet a challenge set him by a young girl. The circumstance is interesting. After taking his degree at Oxford, Ruskin was threatened with consumption and hurried away from the chill and damp of England to the south of Europe. After two years of fruitful travel and study he came back improved in health but not strong, and often depressed in spirit. It was at this time that the Guys, Scotch friends of his father and mother, came for a visit to his home near London, and with them their little daughter Euphemia. The coming of this beautiful, vivacious, light-hearted child opened a new chapter in Ruskin''s life. Though but twelve years old, she sought to enliven the melancholy student, absorbed in art and geology, and bade him leave these and write for her a fairy tale. He accepted, and after but two sittings, presented her with this charming story. The incident proved to have awakened in him a greater interest than at first appeared, for a few years later "Effie" Grey became John Ruskin''s wife. Meantime she had given the manuscript to a friend. Nine years after it was written, this friend, with John Ruskin''s permission, gave the story to the world. It was published in London in 1851, with illustrations by the celebrated Richard Doyle, and at once became a favorite. Three editions were printed the first year, and soon it had found its way into German, Italian, and Welsh. Since then countless children have had cause to be grateful for the young girl''s challenge that won the story of Gluck''s golden mug and the highly satisfactory handling of the Black Brothers by Southwest Wind, Esquire. For this edition new drawings have been prepared by Mr. Hiram P. Barnes. They very successfully preserve the spirit of Doyle''s illustrations, which unfortunately are not technically suitable for reproduction here. In the original manuscript there was an epilogue bearing the heading "Charitie"—a morning hymn of Treasure Valley, whither Gluck had returned to dwell, and where the inheritance lost by cruelty was regained by love: The beams of morning are renewed The valley laughs their light to see And earth is bright with gratitude And heaven with charitie. R.H. COE

"More than simply a survey of an ancient city''s most significant buildings, The Stones of Venice first published in three volumes between 1851 and 1853 is an expression of a philosophy of art, nature, and morality that goes beyond art history, and has inspired such thinkers as Leo Tolstoy, Marcel Proust, and Mahatma Gandhi. Volume III, which looks at Venetian buildings of the Early, Roman, and grotesque Renaissance, provides an analysis of the transitional forms of Arabian and Byzantine architecture while tracing the city s spiritual and architectural decline. Unabridged, and containing Ruskin s original drawings, this guide to the moral, spiritual, and aesthetic implications of architecture is a treasure for students and scholars alike. The preeminent art critic of his time, British writer JOHN RUSKIN (1819 1900) had a profound influence upon European painting, architecture, and aesthetics of the 19th and 20th centuries. His immense body of literary works include Modern Painters, Volume I IV (1843 1856); The Seven Lamps of Architecture (1849); Unto This Last (1862); Munera Pulveris (1862 3); The Crown of Wild Olive (1866); Time and Tide (1867); and Fors Clavigera (1871-84)."

Unto This Last is an essay on economy by John Ruskin, critical of the 18th and 19th century capitalist economists. When first published as four magazine articles in 1860 they were, in the words of Ruskin himself, "very violently criticized" and the publisher was forced to halt publication. But Ruskin persevered and released the four articles in this book form in 1862. Gandhi read Unto This Last in 1904 and it had a huge impact on his social and economic philosophy, with Gandhi making an immediate decision to live according to Ruskin''s teachings.

The Elements of Drawing was written during the winter of 1856. The First Edition was published in 1857 ; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859 ; seventh thousand, 1860; and eighth thousand, 1861. The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M-A., 1874; with new editions in 1875, 1882, and 1886. Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fesole." Of this only vol. L was completed, 1879; second edition, 1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr, Ruskin''s works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859, with the addition of an Index.

John Ruskin''s ''Sesame and Lilies'', first published in 1865, is a classic 19th-century statement on the natures and duties of men and women. This volume reunites the two halves of the work: ''Of Kings'' Treasuries'' and ''Of Queens'' Gardens'', along with essays placing the work in historical context.

The most influential art theorist and critic of his age, an outstanding man of letters, a sensitive painter and draughtsman, Ruskin''s social criticism shocked and angered the establishment and many of his admirers. First and foremost an outcry against injustice and inhumanity, Unto this Last is also a closely argued assault on the science of political economy, which dominated the Victorian period. Ruskin was a profoundly conservative man who looked back to the Middle Ages as a Utopia, yet his ideas had a considerable influence on the British socialist movement. And in making his powerful moral and aesthetic case against the dangers of unhindered industrialization he was strangely prophetic. This volume shows the astounding range and depth of Ruskin''s work, and in an illuminating introduction the editor reveals the consistency of Ruskin''s philosophy and his adamant belief that questions of economics, art and science could not be separated from questions of morality. In Ruskin''s words, ''There is no Wealth but Life.'' For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin''s writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen''s Library Edition of the Works of John Ruskin. Volume 39, general index.

Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin''s writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen''s Library Edition of the Works of John Ruskin. Volume 39, general index.

Volume 1-35, works. Volume 36-37, letters. Volume 38 provides an extensive bibliography of Ruskin''s writings and a catalogue of his drawings, with corrections to earlier volumes in George Allen''s Library Edition of the Works of John Ruskin. Volume 39, general index.