portrait in oil of John Ruskin i Fig. 1.6 John Everett Millais, John Ruskin (1853–4). Oil on canvas, 71.3 × 60.8 cm. Ashmolean Museum, Oxford. Photo: © Ashmolean Museum, University of Oxford.

Ruskin’s Ecologies: Figures of Relation from Modern Painters to The Storm-Cloud

Edited by Kelly Freeman and Thomas Hughes


Preface by Kelly Freeman and Thomas Hughes

Introduction: ‘There Is No Wealth But Life’ by Kelly Freeman and Thomas Hughes

Chapter 1 ‘Ruskin and Lichen’ by Kate Flint

Chapter 2 ‘The Balcony: Queer Temporality in The Stones of Venice and Proust’ by Thomas Hughes

Chapter 3 ‘A Pattern in Time: Tracing the Arabesque from Ruskin to Bridget Riley’ by Moran Sheleg

Chapter 4 ‘Feeling Gothic: Affect and Aesthetics in Ruskin’s Architectural Theory’ by Timothy Chandler

Chapter 5 ‘From Earth Veil to Wall Veil: Ruskin, Morris, Webb, and the Arts and Crafts Surface’ by Stephen Kite

Chapter 6 ‘The Osteological Line’ by Kelly Freeman

Chapter 7 ‘Forms of Intermediate Being’ by Jeremy Melius

Chapter 8 ‘Rosa’s Fall: From Picturesque to Ruskin’s Anti-Turner, Salvator Rosa in Victorian Britain’ by Giulia Martina Weston

Chapter 9 ‘Ruskin, Whistler, and the Climate of Art in 1884’ by Nicholas Robbins

Chapter 10 ‘Molar Heights and Molecular Lowlands: Scale and Imagination in Ruskin and John Tyndall’ by Polly Gould

Chapter 11 ‘Seeing Stars of Light: Plate Three of The Seven Lamps of Architecture’ by Courtney Skipton Long

Chapter 12 “‘Stray Flowers”? The Role of Illustration in the Critical Argument of The Stones of Venice’ by Stephen Bann

Chapter 13 ‘“That Golden Stain of Time”: The Ethics of The Dust from Ruskin to Jorge Otero-Pailos’ by Lawrence Gasquet

Chapter 14 ‘The Afterlife of Dying Buildings: Ruskin and Preservation in the Twenty-First Century’ by Ryan Roark

Notes on Contributors