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 | Notes on contributors |
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vii | |
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xi | |
| Preface |
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xv | |
| Acknowledgement |
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xvii | |
| Standard references |
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xix | |
| Introduction Father and son: the Ruskin family art collection |
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1 | (14) |
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'Candid and earnest': the rise of the art critic in the early nineteenth century |
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15 | (16) |
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The 'dark clue' and the Law of Help: Ruskin, Turner, and the Liber Studiorum |
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31 | (22) |
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Ruskin and the Gothic Revival: his research on Venetian architecture |
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53 | (18) |
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Ruskin and Millais at Glenfinlas |
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71 | (18) |
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Pre-Raphaelite intimacy: Ruskin and Rossetti |
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89 | (22) |
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The Light of the World as 'true sacred art': Ruskin and William Holman Hunt |
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111 | (20) |
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`Archangel' Veronese: Ruskin as Protestant spectator |
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131 | (16) |
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`According to the requirements of his scholars': Ruskin, drawing and art education |
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147 | (20) |
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The `woman question': Ruskin and the female artist |
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167 | (18) |
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Ruskin and the Pre-Raphaelite imagination in the 1870s: art, politics and the female body |
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185 | (20) |
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Painter and Professor: the response of Albert Goodwin to the aesthetics of John Ruskin |
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205 | (16) |
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The critic as autobiographer: Ruskin and his artists |
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221 | (14) |
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| References |
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235 | (10) |
| Index |
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245 | |
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