Book contents
- Frontmatter
- Contents
- LIST OF ILLUSTRATIONS
- INTRODUCTION TO THIS VOLUME
- PART I “LECTURES ON ARCHITECTURE AND PAINTING” (1854)
- PART II REVIEWS, LETTERS, AND PAMPHLETS ON ART (1844–1854)
- 1 REVIEW OF LORD LINDSAY'S “HISTORY OF CHRISTIAN ART” (1847)
- 2 REVIEW OF EASTLAKE'S “HISTORY OF OIL-PAINTING” (1848):–
- 3 SAMUEL PROUT (1849)
- 4 LETTERS ON THE PRE-RAPHAELITE ARTISTS (1851, 1854)
- 5 PRE-RAPHAELITISM (PAMPHLET, 1851)
- 6 LETTERS ON THE NATIONAL GALLERY (1847, 1852)
- 7 THE OPENING OF THE CRYSTAL PALACE, CONSIDERED IN SOME OF ITS RELATIONS TO THE PROSPECTS OF ART (PAMPHLET, 1854)
- APPENDIX TO PART II
- PART III “NOTES ON THE CONSTRUCTION OF SHEEPFOLDS” (1851)
- APPENDIX TO PART III
- PART IV LETTERS ON POLITICS (1852)
- Plate section
4 - LETTERS ON THE PRE-RAPHAELITE ARTISTS (1851, 1854)
Published online by Cambridge University Press: 05 November 2011
- Frontmatter
- Contents
- LIST OF ILLUSTRATIONS
- INTRODUCTION TO THIS VOLUME
- PART I “LECTURES ON ARCHITECTURE AND PAINTING” (1854)
- PART II REVIEWS, LETTERS, AND PAMPHLETS ON ART (1844–1854)
- 1 REVIEW OF LORD LINDSAY'S “HISTORY OF CHRISTIAN ART” (1847)
- 2 REVIEW OF EASTLAKE'S “HISTORY OF OIL-PAINTING” (1848):–
- 3 SAMUEL PROUT (1849)
- 4 LETTERS ON THE PRE-RAPHAELITE ARTISTS (1851, 1854)
- 5 PRE-RAPHAELITISM (PAMPHLET, 1851)
- 6 LETTERS ON THE NATIONAL GALLERY (1847, 1852)
- 7 THE OPENING OF THE CRYSTAL PALACE, CONSIDERED IN SOME OF ITS RELATIONS TO THE PROSPECTS OF ART (PAMPHLET, 1854)
- APPENDIX TO PART II
- PART III “NOTES ON THE CONSTRUCTION OF SHEEPFOLDS” (1851)
- APPENDIX TO PART III
- PART IV LETTERS ON POLITICS (1852)
- Plate section
Summary
THE PRE-RAPHAELITE ARTISTS
FROM THE TIMES, MAY 13, 1851
To the Editor of the “Times”
Sir,—Your usual liberality will, I trust, give a place in your columns to this expression of my regret that the tone of the critique which appeared in the Times of Wednesday last on the works of Mr. Millais and Mr. Hunt, now in the Royal Academy, should have been scornful as well as severe.
I regret it, first, because the mere labour bestowed on those works, and their fidelity to a certain order of truth, (labour and fidelity which are altogether indisputable,) ought at once to have placed them above the level of mere contempt; and, secondly, because I believe these young artists to be at a most critical period of their career—at a turning-point, from which they may either sink into nothingness or rise to very real greatness; and I believe also, that whether they choose the upward or the downward path, may in no small degree depend upon the character of the criticism which their works have to sustain. I do not wish in any way to dispute or invalidate the general truth of your critique on the Royal Academy; nor am I surprised at the estimate which the writer formed of the pictures in question when rapidly compared with works of totally different style and aim: nay, when I first saw the chief picture by Millais in the Exhibition of last year, I had nearly come to the same conclusion myself.
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- The Works of John Ruskin , pp. 317 - 336Publisher: Cambridge University PressPrint publication year: 2010First published in: 1903