John Ruskin and the Savage Gothic
John Ruskin’s provocative theories concerning Gothic art and architecture bear serious consideration in light of the formative debates concerning “primitive” art and its relation to modern European society. Like many primitivists, Ruskin’s advocacy for the medieval was motivated by a reformist zeal...
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Department of Art History, University of Birmingham
2015-06-01
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doaj-0ee6b5b6f301417697baed36ec8e093a2020-11-24T21:41:44ZengDepartment of Art History, University of BirminghamJournal of Art Historiography2042-47522015-06-011212FSC1John Ruskin and the Savage GothicFrances S. Connelly 0University of Missouri-Kansas CityJohn Ruskin’s provocative theories concerning Gothic art and architecture bear serious consideration in light of the formative debates concerning “primitive” art and its relation to modern European society. Like many primitivists, Ruskin’s advocacy for the medieval was motivated by a reformist zeal concerning the state of modern industrial Europe. He differs markedly in his ideas concerning the value and uses of the "savage” Gothic for modern audiences. Ruskin rejected the random borrowing of stylistic elements, stressing instead the artisanal process and the communal role of Gothic monuments. It is also significant that Ruskin problematises the relationship between “primitive” and modern by repeatedly acknowledging his position as a modern viewer and emphasising the process through which he makes (artisan-like) his interpretive history of the Gothic. Rejecting the mastering gaze, Ruskin constantly reminds readers that their view of this pre-modern work is fragmentary and disjunctive.https://arthistoriography.files.wordpress.com/2015/06/connelly.pdfJohn Ruskinmedievalismironybricolagegrotesquenoble savageGauguin |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Frances S. Connelly |
spellingShingle |
Frances S. Connelly John Ruskin and the Savage Gothic Journal of Art Historiography John Ruskin medievalism irony bricolage grotesque noble savage Gauguin |
author_facet |
Frances S. Connelly |
author_sort |
Frances S. Connelly |
title |
John Ruskin and the Savage Gothic |
title_short |
John Ruskin and the Savage Gothic |
title_full |
John Ruskin and the Savage Gothic |
title_fullStr |
John Ruskin and the Savage Gothic |
title_full_unstemmed |
John Ruskin and the Savage Gothic |
title_sort |
john ruskin and the savage gothic |
publisher |
Department of Art History, University of Birmingham |
series |
Journal of Art Historiography |
issn |
2042-4752 |
publishDate |
2015-06-01 |
description |
John Ruskin’s provocative theories concerning Gothic art and architecture bear serious consideration in light of the formative debates concerning “primitive” art and its relation to modern European society. Like many primitivists, Ruskin’s advocacy for the medieval was motivated by a reformist zeal concerning the state of modern industrial Europe. He differs markedly in his ideas concerning the value and uses of the "savage” Gothic for modern audiences. Ruskin rejected the random borrowing of stylistic elements, stressing instead the artisanal process and the communal role of Gothic monuments. It is also significant that Ruskin problematises the relationship between “primitive” and modern by repeatedly acknowledging his position as a modern viewer and emphasising the process through which he makes (artisan-like) his interpretive history of the Gothic. Rejecting the mastering gaze, Ruskin constantly reminds readers that their view of this pre-modern work is fragmentary and disjunctive. |
topic |
John Ruskin medievalism irony bricolage grotesque noble savage Gauguin |
url |
https://arthistoriography.files.wordpress.com/2015/06/connelly.pdf |
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AT francessconnelly johnruskinandthesavagegothic |
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