: Modern Painters Volume 1 (of 5) by Ruskin John - Aesthetics; Painting

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OF GENERAL PRINCIPLES.

OF THE NATURE OF THE IDEAS CONVEYABLE BY ART.

? 1. Distinction between the painter's intellectual power and technical knowledge. 8 ? 2. Painting, as such, is nothing more than language. 8 ? 3. "Painter," a term corresponding to "versifier." 9 ? 4. Example in a painting of E. Landseer's. 9 ? 5. Difficulty of fixing an exact limit between language and thought. 9 ? 6. Distinction between decorative and expressive language. 10 ? 7. Instance in the Dutch and early Italian schools. 10 ? 8. Yet there are certain ideas belonging to language itself. 11 ? 9. The definition. 12

? 1. What classes of ideas are conveyable by art. 13 ? 2. Ideas of power vary much in relative dignity. 13 ? 3. But are received from whatever has been the subject of power. The meaning of the word "excellence." 14 ? 4. What is necessary to the distinguishing of excellence. 15 ? 5. The pleasure attendant on conquering difficulties is right. 16

? 1. False use of the term "imitation" by many writers on art. 17 ? 2. Real meaning of the term. 18 ? 3. What is requisite to the sense of imitation. 18 ? 4. The pleasure resulting from imitation the most contemptible that can be derived from art. 19 ? 5. Imitation is only of contemptible subjects. 19 ? 6. Imitation is contemptible because it is easy. 20 ? 7. Recapitulation. 20

? 1. Meaning of the word "truth" as applied to art. 21 ? 2. First difference between truth and imitation. 21 ? 3. Second difference. 21 ? 4. Third difference. 22 ? 5. No accurate truths necessary to imitation. 22 ? 6. Ideas of truth are inconsistent with ideas of imitation. 24

? 1. Definition of the term "beautiful." 26 ? 2. Definition of the term "taste." 26 ? 3. Distinction between taste and judgment. 27 ? 4. How far beauty may become intellectual. 27 ? 5. The high rank and function of ideas of beauty. 28 ? 6. Meaning of the term "ideal beauty." 28

? 1. General meaning of the term. 29 ? 2. What ideas are to be comprehended under it. 29 ? 3. The exceeding nobility of these ideas. 30 ? 4. Why no subdivision of so extensive a class is necessary. 31

OF POWER.

? 1. No necessity for detailed study of ideas of imitation. 32 ? 2. Nor for separate study of ideas of power. 32 ? 3. Except under one particular form. 33 ? 4. There are two modes of receiving ideas of power, commonly inconsistent. 33 ? 5. First reason of the inconsistency. 33 ? 6. Second reason for the inconsistency. 34 ? 7. The sensation of power ought not to be sought in imperfect art. 34 ? 8. Instances in pictures of modern artists. 35 ? 9. Connection between ideas of power and modes of execution. 35

? 1. Meaning of the term "execution." 36 ? 2. The first quality of execution is truth. 36 ? 3. The second, simplicity. 36 ? 4. The third, mystery. 37 ? 5. The fourth, inadequacy; and the fifth, decision. 37 ? 6. The sixth, velocity. 37 ? 7. Strangeness an illegitimate source of pleasure in execution. 37 ? 8. Yet even the legitimate sources of pleasure in execution are inconsistent with each other. 38 ? 9. And fondness for ideas of power leads to the adoption of the lowest. 39 ? 10. Therefore perilous. 40 ? 11. Recapitulation. 40

? 1. Sublimity is the effect upon the mind of anything above it. 41 ? 2. Burke's theory of the nature of the sublime incorrect, and why. 41 ? 3. Danger is sublime, but not the fear of it. 42 ? 4. The highest beauty is sublime. 42 ? 5. And generally whatever elevates the mind. 42 ? 6. The former division of the subject is therefore sufficient. 42

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