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mx-xs lg:hidden"><svg class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" viewBox="0 0 8 12" x="0px" y="0px"><g><path d="M1 10.168H1.336L3.88 1H3.556L1 10.168Z"></path><path d="M4.71484 10.168H5.05084L7.59484 1H7.27084L4.71484 10.168Z"></path></g></svg></div><span class="font-sans-regular font-normal capitalize block">preview</span></div></div></div><div style="height:auto"><div class="ad-container" id="material_body_teads"></div></div><div class="mb-lg lg:mb-xl grid-in-headline"><h1 class="font-display-medium font-medium text-3xl sm:text-4xl leading-none max-w-col-3 print-max-w-full" itemProp="headline">Bicentenary events aim to reignite John Ruskin’s radical flame</h1></div><div class="mb-xl md:mb-2xl grid-in-standfirst"><h2 class="font-sans-regular font-normal text-lg sm:text-xl leading-tighter tracking-wider max-w-col-3 print-max-w-full" itemProp="about">The work of the influential—but now underappreciated—polymath, whose followers included Gandhi, is the subject of several shows this year</h2></div><div class="leading-0 lg:max-w-col-1 mb-md grid-in-byline"><div class="font-sans-regular font-normal text-base leading-tight text-gray-800 max-w-col-2"><a class="font-sans-bold font-bold shadow-link transition-all duration-default hover:shadow-internalLink hover:text-red-900" href="/authors/jeremy-millar">Jeremy Millar</a></div></div><div class="leading-0 lg:max-w-col-1 mb-base grid-in-dateline"><div class="font-sans-regular font-normal text-base leading-tight inline-block">24 January 2019</div></div><div class="mb-2xl grid-in-toolbar border-t border-gray-300"><div class="min-w-col-1 max-w-col-3 pt-md flex items-center justify-between xs:justify-end lg:justify-between grid-in-toolbar print-hidden"><span class="font-sans-regular font-normal text-base sm:text-sm leading-tight ltr:mr-3xl rtl:ml-3xl">Share</span><div class="flex items-center"><div class="relative inline-block align-middle"><div class="text-gray-700 w-4 h-4 cursor-pointer transition-colors duration-default hover:text-red-900"><svg class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" stroke="none" viewBox="0 0 16 16" x="0px" y="0px"><g><path d="M8 13C8.55228 13 9 12.5523 9 12C9 11.4477 8.55228 11 8 11C7.44772 11 7 11.4477 7 12C7 12.5523 7.44772 13 8 13Z"></path><path d="M8 9C8.55228 9 9 8.55228 9 8C9 7.44772 8.55228 7 8 7C7.44772 7 7 7.44772 7 8C7 8.55228 7.44772 9 8 9Z"></path><path d="M8 5.5C8.55228 5.5 9 5.05228 9 4.5C9 3.94772 8.55228 3.5 8 3.5C7.44772 3.5 7 3.94772 7 4.5C7 5.05228 7.44772 5.5 8 5.5Z"></path></g></svg></div></div></div></div></div><div class="grid-in-media mb-lg"><figure class="max-w-col-3 print-max-w-full"><img alt="Joh Ruskin (1873) © Collection of the Guild of St George / Museums Sheffield" loading="lazy" width="600" height="445.875" decoding="async" data-nimg="1" class="max-w-col-3 print-max-w-full" style="color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http://www.w3.org/2000/svg' viewBox='0 0 600 445.875'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'/%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'/%3E%3CfeComposite operator='out' in='s'/%3E%3CfeComposite in2='SourceGraphic'/%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3C/filter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image/jpeg;base64,/9j/2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj/2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj/wAARCAAQABQDASIAAhEBAxEB/8QAGQAAAgMBAAAAAAAAAAAAAAAAAAUCAwYH/8QAJBAAAQMDAwQDAAAAAAAAAAAAAQIDBAAFEQYSIRMUIkEVIzH/xAAXAQADAQAAAAAAAAAAAAAAAAABAgQF/8QAGBEAAwEBAAAAAAAAAAAAAAAAAAERAjH/2gAMAwEAAhEDEQA/AFVq7d6CwtbDXCByEZqF7gx3ojjS46EOEghSUequ0zcbYzp5oLcR11IAwVfnFOI96hiI009IjJKE7SoqByKzeF1OP3aAluXt+seI4xRWi1NPtHyZ2OtL8Bk5980U+W4Byn//2Q=='/%3E%3C/svg%3E")" srcSet="https://cdn.sanity.io/images/cxgd3urn/production/37e8487c2d7a43295a260787dea80279b5cb35f7-1600x1286.jpg?rect=45,73,1514,1126&w=640&h=476&q=85&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/37e8487c2d7a43295a260787dea80279b5cb35f7-1600x1286.jpg?rect=45,74,1514,1125&w=1200&h=892&q=85&fit=crop&auto=format 2x" src="https://cdn.sanity.io/images/cxgd3urn/production/37e8487c2d7a43295a260787dea80279b5cb35f7-1600x1286.jpg?rect=45,74,1514,1125&w=1200&h=892&q=85&fit=crop&auto=format"/><figcaption class="mt-base max-w-col-2 print-max-w-full"><div class="font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700"><p>Joh Ruskin (1873) <span class="text-gray-400 block">© Collection of the Guild of St George / Museums Sheffield</span></p></div></figcaption></figure></div><div class="grid-in-content lg:grid-in-series"><div style="height:auto"><div class="ad-container mb-xl" id="material_body_slot_1"></div></div><div><div class="w-full"><div class="mb-2xl" itemProp="articleBody"><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">An anniversary most often offers the opportunity to celebrate the life and work of an important figure; less often does it prove necessary to consider who it is that we are celebrating. The latter is perhaps the case with John Ruskin, the bicentenary of whose birth in February will occasion a great many books and exhibitions. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Such was the extent of Ruskin’s fame in his mid-19th-century prime that it accommodated his many activities and achievements, whether in art criticism, architectural history, geology, botany or political economy. Indeed, it is difficult to think of a comparable figure read so widely, and whose influence was both so great and so broad. The diminishing of his fame has obviously led to a lack of familiarity with his work; if he now exists in the popular consciousness at all it is more likely to be in his recent film and TV portrayals as a supporting role to the artists whom he championed, J.M.W. Turner and the Pre-Raphaelites foremost among them.</p><figure class="w-full mt-xl mb-xl first:mt-0 last:mb-0 relative max-w-2xl"><img alt="" loading="lazy" width="644" height="570.169556840077" decoding="async" data-nimg="1" style="color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http://www.w3.org/2000/svg' viewBox='0 0 644 570.169556840077'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'/%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'/%3E%3CfeComposite operator='out' in='s'/%3E%3CfeComposite in2='SourceGraphic'/%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3C/filter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image/jpeg;base64,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'/%3E%3C/svg%3E")" srcSet="https://cdn.sanity.io/images/cxgd3urn/production/f95089c7a9528fecf79c7dc9d6286d1f36f0f32c-1038x1600.jpg?rect=203,557,658,583&w=750&h=664&q=85&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/f95089c7a9528fecf79c7dc9d6286d1f36f0f32c-1038x1600.jpg?rect=203,557,658,583&w=1920&h=1700&q=85&fit=crop&auto=format 2x" src="https://cdn.sanity.io/images/cxgd3urn/production/f95089c7a9528fecf79c7dc9d6286d1f36f0f32c-1038x1600.jpg?rect=203,557,658,583&w=1920&h=1700&q=85&fit=crop&auto=format"/><figcaption class="mt-sm max-w-full"><div class="font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700"><p>John Ruskin's Study of a Peacock's Breast Feather (1873, detail) <span class="text-gray-400 block">© Collection of the Guild of St George / Museums Sheffield</span></p></div></figcaption></figure><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">The coming events should encourage us to reconsider Ruskin in his infuriating, brilliant complexity and the first, John Ruskin: the Power of Seeing at Two Temple Place in London, is a good place to start. Organised by Louise Pullen from Museums Sheffield, where the show will travel to in May, the survey brings together a vast array of works and other objects in order to explore how Ruskin’s attitude to aesthetic beauty affected the development of his radical views on culture and society; these range from paintings by Ruskin, Turner and their contemporaries to furniture made especially for his St George’s Museum, an institution he opened for the workers of Sheffield in 1875. </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">Ruskin’s views remain radically useful, still, not least to Grizedale Arts, the influential arts organisation situated barely a geological specimen’s- throw from Ruskin’s former home, Brantwood, in the Lake District. Since 2000, Grizedale has commissioned many projects that have at their heart a desire that art make a valuable contribution to society—in 2012 it commissioned the artist Liam Gillick to renovate the Coniston Institute, which had previously been rebuilt by Ruskin in 1878—and so its presence within the exhibition should emphasise how his thoughts on the political economy might still be employed. </p><figure class="w-full mt-xl mb-xl first:mt-0 last:mb-0 relative max-w-2xl"><img alt="" loading="lazy" width="644" height="720.5594405594405" decoding="async" data-nimg="1" style="color:transparent;height:auto;width:100%;background-size:cover;background-position:50% 50%;background-repeat:no-repeat;background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg xmlns='http://www.w3.org/2000/svg' viewBox='0 0 644 720.5594405594405'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'/%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'/%3E%3CfeComposite operator='out' in='s'/%3E%3CfeComposite in2='SourceGraphic'/%3E%3CfeGaussianBlur stdDeviation='20'/%3E%3C/filter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image/jpeg;base64,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'/%3E%3C/svg%3E")" srcSet="https://cdn.sanity.io/images/cxgd3urn/production/c3adf2887f1d59942f1fd6f629e2488055f56482-1430x1600.jpg?w=750&h=839&q=85&fit=crop&auto=format 1x, https://cdn.sanity.io/images/cxgd3urn/production/c3adf2887f1d59942f1fd6f629e2488055f56482-1430x1600.jpg?w=1920&h=2148&q=85&fit=crop&auto=format 2x" src="https://cdn.sanity.io/images/cxgd3urn/production/c3adf2887f1d59942f1fd6f629e2488055f56482-1430x1600.jpg?w=1920&h=2148&q=85&fit=crop&auto=format"/><figcaption class="mt-sm max-w-full"><div class="font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700"><p>John Ruskin after J.M.W. Turner, Detail from the Pass to St Gotthard (1855) <span class="text-gray-400 block">© Collection of the Guild of St George / Museums Sheffield</span></p></div></figcaption></figure><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">The director of Manchester’s Whitworth Art Gallery, Alistair Hudson, oversaw the restoration project at the Coniston Institute during his time at Grizedale, and so the exhibition opening at the Whitworth in March—taking place among objects from the museum’s own Ruskin-inspired collection of art and design—will be similarly thought-provoking. Manchester was the site of one of Ruskin’s most famous lectures, an impassioned railing against the city that he considered the grimy manifestation of all that was wrong with industrialisation. The lecture led to his book, Unto This Last (1860), a volume that proved a major influence upon politics in the UK and abroad (Gandhi translated it into Gujarati in 1908). </p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text">In a period of renewed interest in the efficacy of socially engaged artistic practices and—more importantly—despair at our own social, economic, and ecological circumstances, Ruskin’s voice is one that should be both celebrated and challenged, but certainly engaged with. One hopes that these events over the coming year will necessitate just that.</p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text"><em class="font-text-light-italic font-light italic">• <a class="transition-colors duration-default shadow-externalLink hover:text-blue-900" href="https://twotempleplace.org/exhibitions/john-ruskin/" target="_blank">John Ruskin: the Power of Seeing<span class="inline-block text-blue-900" style="height:0.6em;margin-left:0.2em;width:0.6em"><svg class="" fill="currentColor" stroke="none" stroke-linecap="round" stroke-linejoin="round" viewBox="0 0 24 24" x="0px" y="0px"><g><path d="M22.8,0h-7.6c-0.6,0-1.1,0.5-1.1,1.1s0.5,1.1,1.1,1.1h5.1L9.4,13.1c-0.4,0.4-0.4,1.1,0,1.6c0.2,0.2,0.5,0.3,0.8,0.3s0.6-0.1,0.8-0.3L21.7,3.9v4.8c0,0.6,0.5,1.1,1.1,1.1S24,9.4,24,8.8V1.1C24,0.5,23.5,0,22.8,0z"></path><path d="M19,11.2c-0.6,0-1.1,0.5-1.1,1.1V21c0,0.4-0.3,0.7-0.7,0.7H3c-0.4,0-0.7-0.3-0.7-0.7V6.9c0-0.4,0.3-0.7,0.7-0.7h8.8c0.6,0,1.1-0.5,1.1-1.1s-0.5-1.1-1.1-1.1H3c-1.6,0-3,1.3-3,3V21c0,1.6,1.3,3,3,3h14.1c1.6,0,3-1.3,3-3v-8.8C20.1,11.7,19.6,11.2,19,11.2z"></path></g></svg></span></a>, Two Temple Place, London, until 22 April; Millennium Gallery, Sheffield, 29 May-15 September</em></p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text"><em class="font-text-light-italic font-light italic">• Joy for All: How to Use Art to Change the World and its Price in the Market, Whitworth Art Gallery, Manchester, 29 March-9 June</em></p><p class="pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0" itemProp="text"><em class="font-text-light-italic font-light italic">• For more Ruskin-related exhibitions and events, see <a class="transition-colors duration-default shadow-externalLink hover:text-blue-900" href="http://ruskinto-day.org/" target="_blank">Ruskin To-day<span class="inline-block text-blue-900" style="height:0.6em;margin-left:0.2em;width:0.6em"><svg class="" fill="currentColor" stroke="none" stroke-linecap="round" stroke-linejoin="round" viewBox="0 0 24 24" x="0px" y="0px"><g><path d="M22.8,0h-7.6c-0.6,0-1.1,0.5-1.1,1.1s0.5,1.1,1.1,1.1h5.1L9.4,13.1c-0.4,0.4-0.4,1.1,0,1.6c0.2,0.2,0.5,0.3,0.8,0.3s0.6-0.1,0.8-0.3L21.7,3.9v4.8c0,0.6,0.5,1.1,1.1,1.1S24,9.4,24,8.8V1.1C24,0.5,23.5,0,22.8,0z"></path><path d="M19,11.2c-0.6,0-1.1,0.5-1.1,1.1V21c0,0.4-0.3,0.7-0.7,0.7H3c-0.4,0-0.7-0.3-0.7-0.7V6.9c0-0.4,0.3-0.7,0.7-0.7h8.8c0.6,0,1.1-0.5,1.1-1.1s-0.5-1.1-1.1-1.1H3c-1.6,0-3,1.3-3,3V21c0,1.6,1.3,3,3,3h14.1c1.6,0,3-1.3,3-3v-8.8C20.1,11.7,19.6,11.2,19,11.2z"></path></g></svg></span></a></em></p></div><div style="height:auto"><div class="ad-container mb-xl" id="material_body_slot_2"></div></div><div class="w-full max-w-col-3 pt-base flex flex-wrap border-t border-b border-gray-300 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Turner and the Pre-Raphaelites foremost among them.\",\"_key\":\"774296a0a0af\",\"_type\":\"span\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"17f5f3a6f720\"},{\"caption\":[{\"style\":\"normal\",\"_key\":\"ad0ab8646d8d\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"John Ruskin's Study of a Peacock's Breast Feather (1873, detail) \",\"_key\":\"d6bd3a7de078\"},{\"_type\":\"span\",\"marks\":[\"credit\"],\"text\":\"© Collection of the Guild of St George / Museums Sheffield\",\"_key\":\"ddd93941e043\"}],\"_type\":\"block\"}],\"_key\":\"f984c7af4ced\",\"asset\":{\"_id\":\"image-f95089c7a9528fecf79c7dc9d6286d1f36f0f32c-1038x1600-jpg\",\"_ref\":null,\"url\":\"https://cdn.sanity.io/images/cxgd3urn/production/f95089c7a9528fecf79c7dc9d6286d1f36f0f32c-1038x1600.jpg\",\"metadata\":{\"dimensions\":{\"width\":1038,\"height\":1600,\"aspectRatio\":0.64875},\"lqip\":\"data:image/jpeg;base64,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\"}},\"crop\":{\"top\":0.2425,\"left\":0.1955684007707129,\"bottom\":0.183125,\"right\":0.17052023121387283},\"alt\":null,\"markDefs\":null,\"hotspot\":{\"width\":0.6339113680154143,\"x\":0.51252408477842,\"y\":0.5296875,\"height\":0.574375},\"_type\":\"image\"},{\"_key\":\"83e7b7c15d79\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"The coming events should encourage us to reconsider Ruskin in his infuriating, brilliant complexity and the first, John Ruskin: the Power of Seeing at Two Temple Place in London, is a good place to start. Organised by Louise Pullen from Museums Sheffield, where the show will travel to in May, the survey brings together a vast array of works and other objects in order to explore how Ruskin’s attitude to aesthetic beauty affected the development of his radical views on culture and society; these range from paintings by Ruskin, Turner and their contemporaries to furniture made especially for his St George’s Museum, an institution he opened for the workers of Sheffield in 1875. \",\"_key\":\"7822d2775b7f\"}],\"_type\":\"block\",\"style\":\"normal\"},{\"style\":\"normal\",\"_key\":\"37a0a9059453\",\"markDefs\":[],\"children\":[{\"marks\":[],\"text\":\"Ruskin’s views remain radically useful, still, not least to Grizedale Arts, the influential arts organisation situated barely a geological specimen’s- throw from Ruskin’s former home, Brantwood, in the Lake District. Since 2000, Grizedale has commissioned many projects that have at their heart a desire that art make a valuable contribution to society—in 2012 it commissioned the artist Liam Gillick to renovate the Coniston Institute, which had previously been rebuilt by Ruskin in 1878—and so its presence within the exhibition should emphasise how his thoughts on the political economy might still be employed. \",\"_key\":\"e584422c854a\",\"_type\":\"span\"}],\"_type\":\"block\"},{\"_key\":\"bc04409bb35f\",\"asset\":{\"_id\":\"image-c3adf2887f1d59942f1fd6f629e2488055f56482-1430x1600-jpg\",\"_ref\":null,\"url\":\"https://cdn.sanity.io/images/cxgd3urn/production/c3adf2887f1d59942f1fd6f629e2488055f56482-1430x1600.jpg\",\"metadata\":{\"dimensions\":{\"width\":1430,\"height\":1600,\"aspectRatio\":0.89375},\"lqip\":\"data:image/jpeg;base64,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\"}},\"crop\":{\"bottom\":0,\"right\":0,\"top\":0,\"left\":0},\"hotspot\":{\"width\":1,\"x\":0.5,\"y\":0.5,\"height\":1},\"_type\":\"image\",\"caption\":[{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"4aa883551699\",\"markDefs\":[],\"children\":[{\"marks\":[],\"text\":\"John Ruskin after J.M.W. Turner, Detail from the Pass to St Gotthard (1855) \",\"_key\":\"33c0ef9a8971\",\"_type\":\"span\"},{\"marks\":[\"credit\"],\"text\":\"© Collection of the Guild of St George / Museums Sheffield\",\"_key\":\"b0e6a9be9dca\",\"_type\":\"span\"}]}],\"alt\":null,\"markDefs\":null},{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"The director of Manchester’s Whitworth Art Gallery, Alistair Hudson, oversaw the restoration project at the Coniston Institute during his time at Grizedale, and so the exhibition opening at the Whitworth in March—taking place among objects from the museum’s own Ruskin-inspired collection of art and design—will be similarly thought-provoking. Manchester was the site of one of Ruskin’s most famous lectures, an impassioned railing against the city that he considered the grimy manifestation of all that was wrong with industrialisation. The lecture led to his book, Unto This Last (1860), a volume that proved a major influence upon politics in the UK and abroad (Gandhi translated it into Gujarati in 1908). \",\"_key\":\"227197ed1fda\"}],\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"4199d56b2971\"},{\"style\":\"normal\",\"_key\":\"96fdab63311b\",\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[],\"text\":\"In a period of renewed interest in the efficacy of socially engaged artistic practices and—more importantly—despair at our own social, economic, and ecological circumstances, Ruskin’s voice is one that should be both celebrated and challenged, but certainly engaged with. One hopes that these events over the coming year will necessitate just that.\",\"_key\":\"779b656e6c88\"}],\"_type\":\"block\"},{\"_type\":\"block\",\"style\":\"normal\",\"_key\":\"fb987159fcd1\",\"markDefs\":[{\"_type\":\"link\",\"href\":\"https://twotempleplace.org/exhibitions/john-ruskin/\",\"_key\":\"210bcbb78d8f\"}],\"children\":[{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"• \",\"_key\":\"4e33510a164a\"},{\"_key\":\"0b6cd276399e\",\"_type\":\"span\",\"marks\":[\"em\",\"210bcbb78d8f\"],\"text\":\"John Ruskin: the Power of Seeing\"},{\"marks\":[\"em\"],\"text\":\", Two Temple Place, London, until 22 April; Millennium Gallery, Sheffield, 29 May-15 September\",\"_key\":\"4024f8855ccf\",\"_type\":\"span\"}]},{\"markDefs\":[],\"children\":[{\"_type\":\"span\",\"marks\":[\"em\"],\"text\":\"• Joy for All: How to Use Art to Change the World and its Price in the Market, Whitworth Art Gallery, Manchester, 29 March-9 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The latter is perhaps the case with John Ruskin, the bicentenary of whose birth in February will occasion a great many books and exhibitions. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"17f5f3a6f720\",{\"children\":[\"Such was the extent of Ruskin’s fame in his mid-19th-century prime that it accommodated his many activities and achievements, whether in art criticism, architectural history, geology, botany or political economy. Indeed, it is difficult to think of a comparable figure read so widely, and whose influence was both so great and so broad. The diminishing of his fame has obviously led to a lack of familiarity with his work; if he now exists in the popular consciousness at all it is more likely to be in his recent film and TV portrayals as a supporting role to the artists whom he championed, J.M.W. Turner and the Pre-Raphaelites foremost among them.\"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"figure\",\"f984c7af4ced\",{\"children\":[[\"$\",\"$L1a\",null,{\"image\":\"$7:0:props:doc:_0:body:2\",\"width\":644}],[\"$\",\"figcaption\",null,{\"children\":[\"$\",\"div\",null,{\"children\":[[\"$\",\"p\",\"ad0ab8646d8d\",{\"children\":[\"John Ruskin's Study of a Peacock's Breast Feather (1873, detail) \",[\"$\",\"span\",\"ddd93941e043\",{\"children\":[\"© Collection of the Guild of St George / Museums Sheffield\"],\"className\":\"text-gray-400 block\"}]]}]],\"className\":\"font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700\"}],\"className\":\"mt-sm max-w-full\"}]],\"className\":\"w-full mt-xl mb-xl first:mt-0 last:mb-0 relative max-w-2xl\"}],[\"$\",\"p\",\"83e7b7c15d79\",{\"children\":[\"The coming events should encourage us to reconsider Ruskin in his infuriating, brilliant complexity and the first, John Ruskin: the Power of Seeing at Two Temple Place in London, is a good place to start. Organised by Louise Pullen from Museums Sheffield, where the show will travel to in May, the survey brings together a vast array of works and other objects in order to explore how Ruskin’s attitude to aesthetic beauty affected the development of his radical views on culture and society; these range from paintings by Ruskin, Turner and their contemporaries to furniture made especially for his St George’s Museum, an institution he opened for the workers of Sheffield in 1875. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"37a0a9059453\",{\"children\":[\"Ruskin’s views remain radically useful, still, not least to Grizedale Arts, the influential arts organisation situated barely a geological specimen’s- throw from Ruskin’s former home, Brantwood, in the Lake District. Since 2000, Grizedale has commissioned many projects that have at their heart a desire that art make a valuable contribution to society—in 2012 it commissioned the artist Liam Gillick to renovate the Coniston Institute, which had previously been rebuilt by Ruskin in 1878—and so its presence within the exhibition should emphasise how his thoughts on the political economy might still be employed. \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"figure\",\"bc04409bb35f\",{\"children\":[[\"$\",\"$L1a\",null,{\"image\":\"$7:0:props:doc:_0:body:5\",\"width\":644}],[\"$\",\"figcaption\",null,{\"children\":[\"$\",\"div\",null,{\"children\":[[\"$\",\"p\",\"4aa883551699\",{\"children\":[\"John Ruskin after J.M.W. Turner, Detail from the Pass to St Gotthard (1855) \",[\"$\",\"span\",\"b0e6a9be9dca\",{\"children\":[\"© Collection of the Guild of St George / Museums Sheffield\"],\"className\":\"text-gray-400 block\"}]]}]],\"className\":\"font-sans-regular font-normal text-base sm:text-sm leading-tight text-gray-700\"}],\"className\":\"mt-sm max-w-full\"}]],\"className\":\"w-full mt-xl mb-xl first:mt-0 last:mb-0 relative max-w-2xl\"}],[\"$\",\"p\",\"4199d56b2971\",{\"children\":[\"The director of Manchester’s Whitworth Art Gallery, Alistair Hudson, oversaw the restoration project at the Coniston Institute during his time at Grizedale, and so the exhibition opening at the Whitworth in March—taking place among objects from the museum’s own Ruskin-inspired collection of art and design—will be similarly thought-provoking. Manchester was the site of one of Ruskin’s most famous lectures, an impassioned railing against the city that he considered the grimy manifestation of all that was wrong with industrialisation. The lecture led to his book, Unto This Last (1860), a volume that proved a major influence upon politics in the UK and abroad (Gandhi translated it into Gujarati in 1908). \"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"96fdab63311b\",{\"children\":[\"In a period of renewed interest in the efficacy of socially engaged artistic practices and—more importantly—despair at our own social, economic, and ecological circumstances, Ruskin’s voice is one that should be both celebrated and challenged, but certainly engaged with. One hopes that these events over the coming year will necessitate just that.\"],\"className\":\"pt-dp-p font-text-light font-light text-lg leading-normal tracking-wide mb-base last:mb-0\",\"itemProp\":\"text\"}],[\"$\",\"p\",\"fb987159fcd1\",{\"children\":[[\"$\",\"em\",\"4e33510a164a\",{\"children\":[\"• \",[\"$\",\"a\",\"0b6cd276399e\",{\"children\":[[\"John Ruskin: the Power of 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class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" viewBox="0 0 8 12" x="0px" y="0px"><g><path d="M1 10.168H1.336L3.88 1H3.556L1 10.168Z"></path><path d="M4.71484 10.168H5.05084L7.59484 1H7.27084L4.71484 10.168Z"></path></g></svg></span><span class="font-sans-regular font-normal capitalize">archive</span></div></div></div><span class="inline-block mb-sm last:mb-0"><span class="font-sans-regular font-normal text-sm sm:text-xs leading-tight tracking-loose text-gray-700">1 March 2000</span></span><a class="block text-gray-800 hover:text-red-900 transition-colors duration-default cursor-pointer mb-md" href="/2000/03/01/tates-exhibition-explores-the-modernity-of-ruskins-views-on-art"><h4 class="w-full max-w-col-2-xl font-text-narrow-medium font-medium text-lg sm:text-base leading-tight tracking-loose">Tate's exhibition explores the modernity of Ruskin's views on art</h4></a><div class="w-full max-w-col-2-xl last:mb-0 mb-sm"><div class="w-full max-w-col-2-xl empty:hidden last:mb-0 mb-xl"><p class="font-sans-regular font-normal text-base sm:text-sm leading-snug text-gray-700 w-full max-w-col-2-xl">His support of modern art was characterised by a missionary zeal</p></div><div class="leading-none mb-sm last:mb-0"><span class="text-gray-700 font-sans-regular font-normal text-sm sm:text-xs leading-tight whitespace-nowrap"><span class="whitespace-normal"><a class="font-sans-bold font-bold shadow-link transition-all duration-default hover:shadow-internalLink hover:text-red-900" href="/authors/linda-goddard">Linda Goddard</a></span></span></div></div></div><div class="relative w-full max-w-col-5 before:absolute before:top-0 before:left-0 before:w-full before:h-px mb-2xl flex flex-col sm:max-w-col-1"><div class="w-full mb-md"><a class="cursor-pointer" href="/2019/08/13/the-scientific-brotherhood-pre-raphaelite-art-put-under-the-microscope"><div class="overflow-hidden pointer-events-none"><img alt="" loading="lazy" width="208" 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src="https://cdn.sanity.io/images/cxgd3urn/production/6b0dc5d69d7d697c4955b6a34f85ee2109e4fb8f-2953x1969.jpg?rect=165,0,2625,1969&w=640&h=480&q=85&fit=crop&auto=format"/></div></a></div><div class="mb-sm col-span-2 col-start-1 row-start-2"><div class="text-red-900 font-sans-bold font-bold text-sm sm:text-xs leading-tighter tracking-wide select-none"><div class="empty:hidden"><span class="mr-xs"><a class="hover:underline" href="/keywords/books">Books</a></span><span class="w-2 mr-xs inline-block mb-[-3px]"><svg class="" height="100%" width="100%" fill="currentColor" preserveAspectRatio="xMinYMin meet" viewBox="0 0 8 12" x="0px" y="0px"><g><path d="M1 10.168H1.336L3.88 1H3.556L1 10.168Z"></path><path d="M4.71484 10.168H5.05084L7.59484 1H7.27084L4.71484 10.168Z"></path></g></svg></span><span class="font-sans-regular font-normal capitalize">review</span></div></div></div><span class="inline-block mb-sm last:mb-0"><span class="font-sans-regular font-normal text-sm sm:text-xs leading-tight tracking-loose text-gray-700">13 August 2019</span></span><a class="block text-gray-800 hover:text-red-900 transition-colors duration-default cursor-pointer mb-md" href="/2019/08/13/the-scientific-brotherhood-pre-raphaelite-art-put-under-the-microscope"><h4 class="w-full max-w-col-2-xl font-text-narrow-medium font-medium text-lg sm:text-base leading-tight tracking-loose">The scientific brotherhood: Pre-Raphaelite art put under the microscope</h4></a><div class="w-full max-w-col-2-xl last:mb-0 mb-sm"><div class="w-full max-w-col-2-xl empty:hidden last:mb-0 mb-xl"><p class="font-sans-regular font-normal text-base sm:text-sm leading-snug text-gray-700 w-full max-w-col-2-xl">The Victorian artist group explored the connections between art and scientific observation to enhance art’s moral purpose</p></div><div class="leading-none mb-sm last:mb-0"><span class="text-gray-700 font-sans-regular font-normal text-sm sm:text-xs leading-tight whitespace-nowrap"><span class="whitespace-normal"><a 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