John Ruskin Quotes About Art

We have collected for you the TOP of John Ruskin's best quotes about Art! Here are collected all the quotes about Art starting from the birthday of the Art critic – February 8, 1819! We hope you will be inspired to new achievements with our constantly updated collection of quotes. At the moment, this page contains 53 sayings of John Ruskin about Art. We will be happy if you share our collection of quotes with your friends on social networks!
  • He who has learned what is commonly considered the whole art of painting, that is, the art of representing any natural object faithfully, has as yet only learned the language by which his thoughts are to be expressed.

    John Ruskin, Louisa Caroline Tuthill (1872). “The True and the Beautiful in Nature, Art, Morals, and Religion, Selected from the Works of John Ruskin”, p.242
  • It is in this power of saying everything, and yet saying nothing too plainly, that the perfection of art consists.

    John Ruskin (1862). “pt. I. Of genral principles. pt. II. Of truth. v. 4. pt. v. Of mountain beauty”, p.352
  • All that we call ideal in Greek or any other art, because to us it is false and visionary, was, to the makers of it, true and existent.

    John Ruskin, John D. Rosenberg (1964). “The Genius of John Ruskin: Selections from His Writings”, p.58, University of Virginia Press
  • Science studies the relations of things to each other: but art studies only their relations to man.

    John Ruskin (1853). “The Stones of Venice: The fall”, p.36
  • The art which we may call generally art of the wayside, as opposed to that which is the business of men's lives, is, in the best sense of the word, Grotesque.

    John Ruskin (2015). “The Stones of Venice”, p.226, John Ruskin
  • The man who can see all gray, and red, and purples in a peach, will paint the peach rightly round, and rightly altogether. But the man who has only studied its roundness may not see its purples and grays, and if he does not will never get it to look like a peach; so that great power over color is always a sign of large general art-intellect.

  • The power of painter or poet to describe what he calls an ideal thing depends upon its being to him not an ideal but a real thing. No man ever did or ever will work well but either from actual sight or sight of faith.

    John Ruskin (1859). “Modern Painters: (pt.4) Modern painters of many things”, p.83
  • Remember always, in painting as in eloquence, the greater your strength, the quieter will be your manner, and the fewer your words; and in painting, as in all the arts and acts of life the secret of high success will be found, not in a fretful and various excellence, but in a quiet singleness of justly chosen aim.

    John Ruskin (1868). “Precious Thoughts, Moral and Religious”, p.155
  • A man is born an artist as a hippopotamus is born a hippopotamus; and you can no more make yourself one than you can make yourself a giraffe.

    John Ruskin (1894). “Letters on Art and Literature”
  • Great nations write their autobiographies in three manuscripts - the book of their deeds, the book of their words and the book of their art.

    St. Mark's Rest preface (1877)
  • Depend upon it, the first universal characteristic of all great art is Tenderness, as the second is Truth. I find this more and more every day: an infinitude of tenderness is the chief gift and inheritance of all the truly great men. It is sure to involve a relative intensity of disdain towards base things, and an appearance of sternness and arrogance in the eyes of all hard, stupid, and vulgar people

    John Ruskin (1872). “The Two Paths: Being Lectures on Art, and Its Application to Decoration and Manufacture, Delivered in 1858-9”, p.38
  • What does cookery mean? It means the knowledge of Medea and of Circe, and of Calypso, and Sheba. It means knowledge of all herbs, and fruits, and balms and spices... It means the economy of your great-grandmother and the science of modern chemistry, and French art, and Arabian hospitality. It means, in fine, that you are to see imperatively that everyone has something nice to eat.

  • It is a shallow criticism that would define poetry as confined to literary productions in rhyme and meter rhythm. The written poem is only poetry talking, and the statue, the picture, and the musical composition are poetry acting. Milton and Goethe, at their desks, were not more truly poets than Phidias with his chisel, Raphael at his easel, or deaf Beethoven bending over his piano, inventing and producing strains, which he himself could never hope to hear.

  • The names of great painters are like passing-bells: in the name of Velasquez you hear sounded the fall of Spain; .in the name of Titian, that of Venice; in the name of Leonardo, that of Milan; in the name of Raphael, that of Rome. And there is profound justice in this, for in proportion to the nobleness of the power is the guilt of its use for purposes vain or vile; and hitherto the greater the art, the more surely has it been used, and used solely, for the decoration of pride or the provoking of sensuality.

  • Life without industry is guilt, and industry without art is brutality.

    "Lectures on Art: Delivered Before the University of Oxford in Hilary Term, 1870".
  • Science has to do with facts, art with phenomena. To science, phenomena are of use only as they lead to facts; and to art, facts are of use only as they lead to phenomena.

    John Ruskin (1897*). “Stones of Venice”
  • Cookery means…English thoroughness, French art, and Arabian hospitality; it means the knowledge of all fruits and herbs and balms and spices; it means carefulness, inventiveness, and watchfulness.

  • Great nations write their autobiographies in three manuscripts the book of their deeds, the book of their words, and the book of their art. Not one of these books can be understood unless we read the two others; but of the three, the only quite trustworthy one is the last. The acts of a nation may be triumphant by its good fortune; and its words mighty by the genius of a few of its children: but its art, only by the general gifts and common sympathies of the race.

    St. Mark's Rest preface (1877)
  • the art of becoming 'rich', in the common sense, is not absolutely nor finally the art of accumulating much money for ourselves, but also of contriving that our neighbour shall have less. In accurate terms, it is 'the art of establishing the maximum inequality in your own favour'.

    John Ruskin (1938). “Unto this last: and other essays”
  • The entire vitality of art depends upon its being either full of truth, or full of use; and that, however pleasant, wonderful, or impressive it may be in itself, it must yet be of inferior kind, and tend to deeper inferiority, unless it has clearly one of these main objects, either to state a true thing, or to adorn a serviceable one.

    John Ruskin (2012). “Selections From the Works of John Ruskin”, p.303, tredition
  • All great art is the expression of man's delight in God's work, not his own.

    John Ruskin (1871). “Selections from the Writings of John Ruskin”, p.331
  • Fine art is that in which the hand, the head, and the heart of man go together.

    'The Two Paths' (1859) lecture 2
  • Depend upon it, the first universal characteristic of all great art is Tenderness, as the second is Truth.

    John Ruskin (1872). “The Two Paths: Being Lectures on Art, and Its Application to Decoration and Manufacture, Delivered in 1858-9”, p.38
  • All great art is the work of the whole living creature, body and soul, and chiefly of the soul.

    John Ruskin (2015). “The Stones of Venice”, p.312, John Ruskin
  • Nothing can be true which is either complete or vacant; every touch is false which does not suggest more than it represents, and every space is false which represents nothing.

    John Ruskin, John D. Rosenberg (1964). “The Genius of John Ruskin: Selections from His Writings”, p.28, University of Virginia Press
  • No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or painter, he can only be a builder.

    'Lectures on Architecture and Painting' (1853) 61, addenda
  • No good work whatever can be perfect, and the demand for perfection is always a sign of a misunderstanding of the ends of art.

    John Ruskin, John D. Rosenberg (1964). “The Genius of John Ruskin: Selections from His Writings”, p.183, University of Virginia Press
  • Your art is to be the praise of something that you love. It may only be the praise of a shell or a stone.

    John Ruskin (188?). “Works: "A joy forever." The art of England. "Our fathers have told us." The laws of Fesole. The pleasures of England. Fiction fair and foul. Notes on the construction of sheepfolds. Inaugural address ... Cambridge School of Art, October 29th, 1858. The storm cloud of the nineteenth century. The opening of the Crystal Palace”
  • The art of nations is to be accumulative, just as science and history are; the work of living men not superseding, but building itself upon the work of the past.

    John Ruskin (1872). “The Political Economy of Art: Being the Substance (with Additions) of Two Lectures Delivered at Manchester, July 10th and 13th, 1857”, p.56
  • If you can draw the stone rightly, everything within reach of art is also within yours.

    John Ruskin (1859). “The Elements of Drawing: In Three Letters to Beginners”, p.46
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