title: John Ruskin

texts:
 given in Edinburgh, in November 1853, on architecture and painting. His lectures at the Art Treasures Exhibition, Manchester in 1857, were collected as The Political Economy of Art and later under Keats's phrase, A Joy For Ever. In these lectures, <mask> spoke about how to acquire art, and how to use it, arguing that England had forgotten that true wealth is virtue, and that art is an index of a nation's well-being. Individuals have a responsibility to consume wisely, stimulating beneficent demand.The increasingly critical tone and political nature of <mask>'s interventions outraged his father and the "Manchester School" of economists, as represented by a hostile review in the Manchester Examiner and Times. As the Ruskin scholar Helen Gill Viljoen noted, Ruskin was increasingly critical of his father, especially in letters written by Ruskin directly to him, many of them still unpublished. Ruskin gave the inaugural address at the Cambridge School of Art in 1858, an institution from which the modern-day Anglia Ruskin University has grown. In The Two Paths (1859), five lectures given in London, Manchester, Bradford and Tunbridge Wells, Ruskin argued that a 'vital law' underpins art and architecture, drawing on the labour theory of value. (For other addresses and letters, Cook and Wedderburn, vol. 16, pp. 427–87.)The year 1859 also marked his last tour of Europe with his ageing parents, during which they visited Germany and Switzerland. Turner Bequest
<mask> had been in Venice when he heard about Turner's death in 1851. Being named an executor to Turner's will was an honour that <mask> respectfully declined, but later

masks: Ruskin Ruskin Ruskin Ruskin


title: John Ruskin

type: original

texts:
 took up. <mask>'s book in celebration of the sea, The Harbours of England, revolving around Turner's drawings, was published in 1856. In January 1857, <mask>'s Notes on the Turner Gallery at Marlborough House, 1856 was published. He persuaded the National Gallery to allow him to work on the Turner Bequest of nearly 20,000 individual artworks left to the nation by the artist. This involved <mask> in an enormous amount of work, completed in May 1858, and involved cataloguing, framing and conserving.Four hundred watercolours were displayed in cabinets of <mask>'s own design. Recent scholarship has argued that <mask> did not, as previously thought, collude in the destruction of Turner's erotic drawings, but his work on the Bequest did modify his attitude towards Turner. (See below, Controversies: Turner's Erotic Drawings.) Religious "unconversion"
In 1858, <mask> was again travelling in Europe. The tour took him from Switzerland to Turin, where he saw Paolo Veronese's Presentation of the Queen of Sheba. He would later claim (in April 1877) that the discovery of this painting, contrasting starkly with a particularly dull sermon, led to his "unconversion" from Evangelical Christianity. He had, however, doubted his Evangelical Christian faith for some time, shaken by Biblical and geological scholarship that had undermined the literal truth and absolute authority of the Bible: "those dreadful hammers!"he wrote to Henry Acland, "I hear the chink of them at the end of every cadence of the Bible verses." This "loss of faith" precipitated a considerable personal crisis. His confidence undermined, he believed that much of his

masks: Ruskin Ruskin Ruskin Ruskin Ruskin Ruskin


title: John Ruskin

texts: economy espoused by <mask> Mill, based on theories of laissez-faire and competition drawn from the work of Adam Smith, David Ricardo and Thomas Malthus. In his four essays Unto This Last, Ruskin rejected the division of labour as dehumanising (separating the labourer from the product of his work), and argued that the false "science" of political economy failed to consider the social affections that bind communities together.He articulated an extended metaphor of household and family, drawing on Plato and Xenophon to demonstrate the communal and sometimes sacrificial nature of true economics. For Ruskin, all economies and societies are ideally founded on a politics of social justice. His ideas influenced the concept of the "social economy", characterised by networks of charitable, co-operative and other non-governmental organisations. The essays were originally published in consecutive monthly instalments of the new Cornhill Magazine between August and November 1860 (and published in a single volume in 1862). However, the Cornhills editor, William Makepeace Thackeray, was forced to abandon the series by the outcry of the magazine's largely conservative readership and the fears of a nervous publisher (Smith, Elder & Co.). The reaction of the national press was hostile, and Ruskin was, he claimed, "reprobated in a violent manner". <mask>'s father also strongly disapproved.Others were enthusiastic, including <mask>'s friend Thomas Carlyle, who wrote, "I have read your paper with exhilaration... such a thing flung suddenly into half a million dull British heads... will do a great deal of good." <mask>'s political

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title: John Ruskin

texts:
 ideas, and Unto This Last in particular, later proved highly influential. The essays were praised and paraphrased in Gujarati by Mohandas Gandhi, a wide range of autodidacts cited their positive impact, the economist <mask>. Hobson and many of the founders of the British Labour party credited them as an influence. Ruskin believed in a hierarchical social structure. He wrote "I was, and my father was before me, a violent Tory of the old school." He believed in man's duty to God, and while he sought to improve the conditions of the poor, he opposed attempts to level social differences and sought to resolve social inequalities by abandoning capitalism in favour of a co-operative structure of society based on obedience and benevolent philanthropy, rooted in the agricultural economy. <mask>'s explorations of nature and aesthetics in the fifth and final volume of Modern Painters focused on Giorgione, Veronese, Titian and Turner.Ruskin asserted that the components of the greatest artworks are held together, like human communities, in a quasi-organic unity. Competitive struggle is destructive. Uniting Modern Painters V and Unto This Last is <mask>'s "Law of Help":

<mask>'s next work on political economy, redefining some of the basic terms of the discipline, also ended prematurely, when Fraser's Magazine, under the editorship of James Anthony Froude, cut short his Essays on Political Economy (1862–63) (later collected as Munera Pulveris (1872)). <mask> further explored political themes in Time and Tide (1867), his letters to Thomas Dixon, a cork-cutter in Sunderland, Tyne and Wear who had a well-established interest in

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title: John Ruskin

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 literary and artistic matters. In these letters, Ruskin promoted honesty in work and exchange, just relations in employment and the need for co-operation. Ruskin's sense of politics was not confined to theory. On his father's death in 1864, he inherited a considerable fortune of between £120,000 and £157,000 (the exact figure is disputed).This considerable fortune, inherited from the father he described on his tombstone as "an entirely honest merchant", gave him the means to engage in personal philanthropy and practical schemes of social amelioration. One of his first actions was to support the housing work of Octavia Hill (originally one of his art pupils): he bought property in Marylebone to aid her philanthropic housing scheme. But Ruskin's endeavours extended to the establishment of a shop selling pure tea in any quantity desired at 29 Paddington Street, Paddington (giving employment to two former Ruskin family servants) and crossing-sweepings to keep the area around the British Museum clean and tidy. Modest as these practical schemes were, they represented a symbolic challenge to the existing state of society. Yet his greatest practical experiments would come in his later years. Lectures in the 1860s
<mask> lectured widely in the 1860s, giving the Rede lecture at the University of Cambridge in 1867, for example. He spoke at the British Institution on 'Modern Art', the Working Men's Institute, Camberwell on "Work" and the Royal Military Academy, Woolwich on 'War.'<mask>'s widely admired lecture, Traffic, on the relation between taste and morality, was delivered in April 1864 at Bradford Town Hall, to which he

masks: Ruskin Ruskin


title: John Ruskin

texts:
 had been invited because of a local debate about the style of a new Exchange building. "I do not care about this Exchange", <mask> told his audience, "because you don't!" These last three lectures were published in The Crown of Wild Olive (1866). The lectures that comprised Sesame and Lilies (published 1865), delivered in December 1864 at the town halls at Rusholme and Manchester, are essentially concerned with education and ideal conduct. "Of Kings' Treasuries" (in support of a library fund) explored issues of reading practice, literature (books of the hour vs. books of all time), cultural value and public education. "Of Queens' Gardens" (supporting a school fund) focused on the role of women, asserting their rights and duties in education, according them responsibility for the household and, by extension, for providing the human compassion that must balance a social order dominated by men. This book proved to be one of <mask>'s most popular, and was regularly awarded as a Sunday School prize.Its reception over time, however, has been more mixed, and twentieth-century feminists have taken aim at "Of Queens' Gardens" in particular, as an attempt to "subvert the new heresy" of women's rights by confining women to the domestic sphere. Although indeed subscribing to the Victorian belief in "separate spheres" for men and women, <mask> was however unusual in arguing for parity of esteem, a case based on his philosophy that a nation's political economy should be modelled on that of the ideal household. Later life (1869–1900)

Oxford's first Slade Professor of Fine Art

<mask> was unanimously appointed the first Slade


title: John Ruskin

texts: Professor of Fine Art at Oxford University in August 1869, though largely through the offices of his friend, Henry Acland. He delivered his inaugural lecture on his 51st birthday in 1870, at the Sheldonian Theatre to a larger-than-expected audience. It was here that he said, "The art of any country is the exponent of its social and political virtues." It has been claimed that Cecil Rhodes cherished a long-hand copy of the lecture, believing that it supported his own view of the British Empire. In 1871, <mask> founded his own art school at Oxford, The Ruskin School of Drawing and Fine Art.It was originally accommodated within the Ashmolean Museum but now occupies premises on High Street. <mask> endowed the drawing mastership with £5000 of his own money. He also established a large collection of drawings, watercolours and other materials (over 800 frames) that he used to illustrate his lectures. The School challenged the orthodox, mechanical methodology of the government art schools (the "South Kensington System"). <mask>'s lectures were often so popular that they had to be given twice—once for the students, and again for the public. Most of them were eventually published (see Select Bibliography below). He lectured on a wide range of subjects at Oxford, his interpretation of "Art" encompassing almost every conceivable area of study, including wood and metal engraving (Ariadne Florentina), the relation of science to art (The Eagle's Nest) and sculpture (Aratra Pentelici).His lectures ranged through myth, ornithology, geology, nature-study and literature. "The teaching of Art...", Ruskin wrote, "is the teaching of

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John Ruskin
Ruskin
Ruskin


title: John Ruskin

texts:
 all things." <mask> was never careful about offending his employer. When he criticised Michelangelo in a lecture in June 1871 it was seen as an attack on the large collection of that artist's work in the Ashmolean Museum. Most controversial, from the point of view of the University authorities, spectators and the national press, was the digging scheme on Ferry Hinksey Road at North Hinksey, near Oxford, instigated by Ruskin in 1874, and continuing into 1875, which involved undergraduates in a road-mending scheme. The scheme was motivated in part by a desire to teach the virtues of wholesome manual labour. Some of the diggers, who included Oscar Wilde, Alfred Milner and Ruskin's future secretary and biographer W. G. Collingwood, were profoundly influenced by the experience: notably Arnold Toynbee, Leonard Montefiore and Alexander Robertson MacEwen.It helped to foster a public service ethic that was later given expression in the university settlements, and was keenly celebrated by the founders of Ruskin Hall, Oxford. In 1879, <mask> resigned from Oxford, but resumed his Professorship in 1883, only to resign again in 1884. He gave his reason as opposition to vivisection, but he had increasingly been in conflict with the University authorities, who refused to expand his Drawing School. He was also suffering from increasingly poor health. Fors Clavigera and the Whistler libel case
In January 1871, the month before Ruskin started to lecture the wealthy undergraduates at Oxford University, he began his series of 96 (monthly) "letters to the workmen and labourers of Great Britain" under the title Fors Clavigera (1871–84).


title: John Ruskin

texts: (The letters were published irregularly after the 87th instalment in March 1878.) These letters were personal, dealt with every subject in his oeuvre, and were written in a variety of styles, reflecting his mood and circumstances.From 1873, <mask> had full control over all his publications, having established George Allen as his sole publisher (see Allen & Unwin). In the July 1877 letter of Fors Clavigera, <mask> launched a scathing attack on paintings by James McNeill Whistler exhibited at the Grosvenor Gallery. He found particular fault with Nocturne in Black and Gold: The Falling Rocket, and accused Whistler of asking two hundred guineas for "flinging a pot of paint in the public's face". Whistler filed a libel suit against <mask>, but <mask> was ill when the case went to trial in November 1887, so the artist Edward Burne-Jones and Attorney General Sir <mask> represented him. The trial took place on 25 and 26 November, and many major figures of the art world at the time appeared at the trial. Artist Albert Moore appeared as a witness for Whistler, and artist William Powell Frith appeared for Ruskin. Frith said "the nocturne in black in gold is not in my opinion worth two hundred guineas".Frederic Leighton also agreed to give evidence for Whistler, but in the end could not attend as he had to go to Windsor to be knighted. Edward Burne-Jones, representing Ruskin, also asserted that Nocturne in Black and Gold was not a serious work of art. When asked to give reasons, Burne-Jones said he had never seen one painting of night that was successful, but also acknowledged that he saw marks of great labour and artistic

masks:
Ruskin
Ruskin
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John Hoer


title: John Ruskin

texts:
 skill in the painting. In the end, Whistler won the case, but the jury awarded damages of only a derisory farthing (the smallest coin of the realm) to the artist. Court costs were split between the two parties. <mask>'s were paid by public subscription organised by the Fine Art Society, but Whistler was bankrupt within six months, and was forced to sell his studio. The episode tarnished <mask>'s reputation, and may have accelerated his mental decline.It did nothing to mitigate <mask>'s exaggerated sense of failure in persuading his readers to share in his own keenly felt priorities. Guild of St George

Ruskin founded his utopian society, the Guild of St George, in 1871 (although originally it was called St George's Fund, and then St George's Company, before becoming the Guild in 1878). Its aims and objectives were articulated in Fors Clavigera. A communitarian protest against nineteenth-century industrial capitalism, it had a hierarchical structure, with Ruskin as its Master, and dedicated members called "Companions". Ruskin wished to show that contemporary life could still be enjoyed in the countryside, with land being farmed by traditional means, in harmony with the environment, and with the minimum of mechanical assistance. He also sought to educate and enrich the lives of industrial workers by inspiring them with beautiful objects. As such, with a tithe (or personal donation) of £7,000, Ruskin acquired land and a collection of art treasures.Ruskin purchased land initially in Totley, near Sheffield, but the agricultural scheme established there by local communists met with only modest success after many

masks: Ruskin Ruskin Ruskin


title: John Ruskin

texts:
 in the Sheffield district of Walkley, it opened in 1875, and was curated by Henry and Emily Swan. <mask> had written in Modern Painters III (1856) that, "the greatest thing a human soul ever does in this world is to see something, and to tell what it saw in a plain way." Through the Museum, Ruskin aimed to bring to the eyes of the working man many of the sights and experiences otherwise reserved for those who could afford to travel across Europe. The original Museum has been digitally recreated online.In 1890, the Museum relocated to Meersbrook Park. The collection is now on display at Sheffield's Millennium Gallery. Rose La Touche

<mask> had been introduced to the wealthy Irish La Touche family by Louisa, Marchioness of Waterford. Maria La Touche, a minor Irish poet and novelist, asked Ruskin to teach her daughters drawing and painting in 1858. Rose La Touche was ten. His first meeting came at a time when <mask>'s own religious faith was under strain. This always caused difficulties for the staunchly Protestant La Touche family who at various times prevented the two from meeting.A chance meeting at the Royal Academy in 1869 was one of the few occasions they came into personal contact. After a long illness, she died on 25 May 1875, at the age of 27. These events plunged Ruskin into despair and led to increasingly severe bouts of mental illness involving a number of breakdowns and delirious visions. The first of these had occurred in 1871 at Matlock, Derbyshire, a town and a county that he knew from his boyhood travels, whose flora, fauna, and minerals helped to form and reinforce his appreciation and


title: John Ruskin

texts:
 observations in his lectures, The Storm-Cloud of the Nineteenth-Century (1884), describing the apparent effects of industrialisation on weather patterns. <mask>'s Storm-Cloud has been seen as foreshadowing environmentalism and related concerns in the 20th and 21st centuries. <mask>'s prophetic writings were also tied to his emotions, and his more general (ethical) dissatisfaction with the modern world with which he now felt almost completely out of sympathy. His last great work was his autobiography, Praeterita (1885–89) (meaning, 'Of Past Things'), a highly personalised, selective, eloquent but incomplete account of aspects of his life, the preface of which was written in his childhood nursery at Herne Hill. The period from the late 1880s was one of steady and inexorable decline. Gradually it became too difficult for him to travel to Europe. He suffered a complete mental collapse on his final tour, which included Beauvais, Sallanches and Venice, in 1888.The emergence and dominance of the Aesthetic movement and Impressionism distanced <mask> from the modern art world, his ideas on the social utility of art contrasting with the doctrine of "l'art pour l'art" or "art for art's sake" that was beginning to dominate. His later writings were increasingly seen as irrelevant, especially as he seemed to be more interested in book illustrators such as Kate Greenaway than in modern art. He also attacked aspects of Darwinian theory with increasing violence, although he knew and respected Darwin personally. Brantwood and final years

In August 1871, Ruskin purchased, from W. J. Linton, the then somewhat dilapidated Brantwood


title: John Ruskin

texts: house, on the shores of Coniston Water, in the English Lake District, paying £1500 for it. Brantwood was Ruskin's main home from 1872 until his death. His estate provided a site for more of his practical schemes and experiments: he had an ice house built, and the gardens comprehensively rearranged. He oversaw the construction of a larger harbour (from where he rowed his boat, the Jumping Jenny), and he altered the house (adding a dining room, a turret to his bedroom to give him a panoramic view of the lake, and he later extended the property to accommodate his relatives).He built a reservoir, and redirected the waterfall down the hills, adding a slate seat that faced the tumbling stream and craggy rocks rather than the lake, so that he could closely observe the fauna and flora of the hillside. Although <mask>'s 80th birthday was widely celebrated in 1899 (various Ruskin societies presenting him with an elaborately illuminated congratulatory address), Ruskin was scarcely aware of it. He died at Brantwood from influenza on 20 January 1900 at the age of 80. He was buried five days later in the churchyard at Coniston, according to his wishes. As he had grown weaker, suffering prolonged bouts of mental illness, he had been looked after by his second cousin, Joan(na) Severn (formerly "companion" to Ruskin's mother) and she and her family inherited his estate. Joanna's Care was the eloquent final chapter of Ruskin's memoir, which he dedicated to her as a fitting tribute. Joan Severn, together with Ruskin's secretary, W. G. Collingwood, and his eminent American friend Charles Eliot Norton, were executors to his will.E. T.


title: John Ruskin

texts:
 Cook and Alexander Wedderburn edited the monumental 39-volume Library Edition of Ruskin's Works, the last volume of which, an index, attempts to demonstrate the complex interconnectedness of <mask>'s thought. They all acted together to guard, and even control, <mask>'s public and personal reputation. The centenary of <mask>'s birth was keenly celebrated in 1919, but his reputation was already in decline and sank further in the fifty years that followed. The contents of <mask>'s home were dispersed in a series of sales at auction, and Brantwood itself was bought in 1932 by the educationist and Ruskin enthusiast, collector and memorialist, <mask> Whitehouse. Brantwood was opened in 1934 as a memorial to Ruskin and remains open to the public today. The Guild of St George continues to thrive as an educational charity, and has an international membership. The Ruskin Society organises events throughout the year.A series of public celebrations of <mask>'s multiple legacies took place in 2000, on the centenary of his death, and events are planned throughout 2019, to mark the bicentenary of his birth. Note on <mask>'s personal appearance

In middle age, and at his prime as a lecturer, Ruskin was described as slim, perhaps a little short, with an aquiline nose and brilliant, piercing blue eyes. Often sporting a double-breasted waistcoat, a high collar and, when necessary, a frock coat, he also wore his trademark blue neckcloth. From 1878 he cultivated an increasingly long beard, and took on the appearance of an "Old Testament" prophet. Ruskin in the eyes of a student
The following description of Ruskin as a lecturer was

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title: John Ruskin

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 written by an eyewitness, who was a student at the time (1884):

An incident where the Arts and Crafts master William Morris had aroused the anger of Dr Bright, Master of University College, Oxford, served to demonstrate <mask>'s charisma:

Legacy

International
Ruskin's influence reached across the world. Tolstoy described him as "one of the most remarkable men not only of England and of our generation, but of all countries and times" and quoted extensively from him, rendering his ideas into Russian. Proust not only admired Ruskin but helped translate his works into French.Gandhi wrote of the "magic spell" cast on him by Unto This Last and paraphrased the work in Gujarati, calling it Sarvodaya, "The Advancement of All". In Japan, Ryuzo Mikimoto actively collaborated in Ruskin's translation. He commissioned sculptures and sundry commemorative items, and incorporated Ruskinian rose motifs in the jewellery produced by his cultured pearl empire. He established the Ruskin Society of Tokyo and his children built a dedicated library to house his Ruskin collection. A number of utopian socialist Ruskin Colonies attempted to put his political ideals into practice. These communities included Ruskin, Florida, Ruskin, British Columbia and the Ruskin Commonwealth Association, a colony in Dickson County, Tennessee in existence from 1894 to 1899. Ruskin's work has been translated into numerous languages including, in addition to those already mentioned (Russian, French, Japanese): German, Italian, Catalan, Spanish, Portuguese, Hungarian, Polish, Romanian, Swedish, Danish, Dutch, Czech, Chinese, Welsh, several Indian languages


title: John Ruskin

texts:
 like Kannada (ಕನ್ನಡ), Esperanto and Gikuyu.Art, architecture and literature
Theorists and practitioners in a broad range of disciplines acknowledged their debt to Ruskin. Architects including Le Corbusier, Louis Sullivan, Frank Lloyd Wright and Walter Gropius incorporated his ideas in their work. Writers as diverse as Oscar Wilde, G. K. Chesterton, Hilaire Belloc, T. S. Eliot, W. B. Yeats and Ezra Pound felt Ruskin's influence. The American poet Marianne Moore was an enthusiastic Ruskin reader. Art historians and critics, among them Herbert Read, Roger Fry and Wilhelm Worringer, knew Ruskin's work well. Admirers ranged from the British-born American watercolourist and engraver <mask> Hill to the sculptor-designer, printmaker and utopianist Eric Gill. Aside from E. T. Cook, Ruskin's editor and biographer, other leading British journalists influenced by Ruskin include J.A. Spender, and the war correspondent H. W. Nevinson. Craft and conservation
William Morris and C. R. Ashbee (of the Guild of Handicraft) were keen disciples, and through them <mask>'s legacy can be traced in the arts and crafts movement. <mask>'s ideas on the preservation of open spaces and the conservation of historic buildings and places inspired his friends Octavia Hill and Hardwicke Rawnsley to help found the National Trust. Society, education and sport
Pioneers of town planning such as Thomas Coglan Horsfall and Patrick Geddes called Ruskin an inspiration and invoked his ideas in justification of their own social interventions; likewise the founders of the garden city movement, Ebenezer Howard and Raymond Unwin. Edward Carpenter's community in

masks:
John William
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Ruskin


title: John Ruskin

texts:
 Millthorpe, Derbyshire was partly inspired by Ruskin, and <mask>'s colony at Purleigh, Essex, which was briefly a refuge for the Doukhobors, combined Ruskin's ideas and Tolstoy's. The most prolific collector of Ruskiniana was <mask> Whitehouse, who saved Ruskin's home, Brantwood, and opened it as a permanent Ruskin memorial. Inspired by Ruskin's educational ideals, Whitehouse established Bembridge School, on the Isle of Wight, and ran it along Ruskinian lines.Educationists from William Jolly to Michael Ernest Sadler wrote about and appreciated Ruskin's ideas. Ruskin College, an educational establishment in Oxford originally intended for working men, was named after him by its American founders, Walter Vrooman and Charles A. Beard. <mask>'s innovative publishing experiment, conducted by his one-time Working Men's College pupil George Allen, whose business was eventually merged to become Allen & Unwin, anticipated the establishment of the Net Book Agreement. <mask>'s Drawing Collection, a collection of 1470 works of art he gathered as learning aids for the Ruskin School of Drawing and Fine Art (which he founded at Oxford), is at the Ashmolean Museum. The Museum has promoted Ruskin's art teaching, utilising the collection for in-person and online drawing courses. Pierre de Coubertin, the innovator of the modern Olympic Games, cited Ruskin's principles of beautification, asserting that the games should be "Ruskinised" to create an aesthetic identity that transcended mere championship competitions.Politics and critique of political economy
<mask> was an inspiration for many Christian socialists, and his ideas informed

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title: John Ruskin

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 the work of economists such as William Smart and J. A. Hobson, and the positivist Frederic Harrison. Ruskin was discussed in university extension classes, and in reading circles and societies formed in his name. He helped to inspire the settlement movement in Britain and the United States. Resident workers at Toynbee Hall such as the future civil servants Hubert Llewellyn Smith and William Beveridge (author of the Report ... on Social Insurance and Allied Services), and the future Prime Minister Clement Attlee acknowledged their debt to Ruskin as they helped to found the British welfare state. More of the British Labour Party's earliest MPs acknowledged Ruskin's influence than mentioned Karl Marx or the Bible. More recently, Ruskin's works have also influenced Phillip Blond and the Red Tory movement.Ruskin in the 21st century
In 2019, Ruskin200 was inaugurated as a year-long celebration marking the bicentenary of <mask>'s birth. Admirers and scholars of <mask> can visit the Ruskin Library at Lancaster University, <mask>'s home, Brantwood, and the Ruskin Museum, both in Coniston in the English Lake District. All three mount regular exhibitions open to the public all the year round. Barony House in Edinburgh is home to a descendant of <mask>. She has designed and hand painted various friezes in honour of her ancestor and it is open to the public. <mask>'s Guild of St George continues his work today, in education, the arts, crafts, and the rural economy. Many streets, buildings, organisations and institutions bear his name: The Priory Ruskin Academy in Grantham, Lincolnshire; John Ruskin College, South Croydon; and

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Ruskin


title: John Ruskin

texts: Anglia Ruskin University in Chelmsford and Cambridge, which traces its origins to the Cambridge School of Art, at the foundation of which <mask> spoke in 1858.Also, the Ruskin Literary and Debating Society, (founded in 1900 in Toronto, Ontario, Canada), the oldest surviving club of its type, and still promoting the development of literary knowledge and public speaking today; and the Ruskin Art Club in Los Angeles, which still exists. In addition, there is the Ruskin Pottery, Ruskin House, Croydon and Ruskin Hall at the University of Pittsburgh. Ruskin, Florida, United States—site of one of the short-lived American Ruskin Colleges—is named after <mask>. There is a mural of Ruskin titled "Head, Heart and Hands" on a building across from the Ruskin Post Office. Since 2000, scholarly research has focused on aspects of <mask>'s legacy, including his impact on the sciences; <mask> and Oliver Lodge admired him. Two major academic projects have looked at Ruskin and cultural tourism (investigating, for example, Ruskin's links with Thomas Cook); the other focuses on Ruskin and the theatre. The sociologist and media theorist David Gauntlett argues that Ruskin's notions of craft can be felt today in online communities such as YouTube and throughout Web 2.0.Similarly, architectural theorist Lars Spuybroek has argued that <mask>'s understanding of the Gothic as a combination of two types of variation, rough savageness and smooth changefulness, opens up a new way of thinking leading to digital and so-called parametric design. Notable Ruskin enthusiasts include the writers Geoffrey Hill and Charles Tomlinson, and the politicians

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John Ruskin
Ruskin
John Lubbock
Ruskin


title: John Ruskin

texts:
 Patrick Cormack, Frank Judd, Frank Field and Tony Benn. In 2006, Chris Smith, Baron Smith of Finsbury, Raficq Abdulla, Jonathon Porritt and Nicholas Wright were among those to contribute to the symposium, There is no wealth but life: Ruskin in the 21st Century. Jonathan Glancey at The Guardian and Andrew Hill at the Financial Times have both written about Ruskin, as has the broadcaster Melvyn Bragg. In 2015, inspired by Ruskin's philosophy of education, Marc Turtletaub founded Meristem in Fair Oaks, California. The centre educates adolescents with developmental differences using Ruskin's "land and craft" ideals, transitioning them so they will succeed as adults in an evolving post-industrial society. Theory and criticism

Ruskin wrote over 250 works, initially art criticism and history, but expanding to cover topics ranging over science, geology, ornithology, literary criticism, the environmental effects of pollution, mythology, travel, political economy and social reform.After his death <mask>'s works were collected in the 39-volume "Library Edition", completed in 1912 by his friends Edward Tyas Cook and Alexander Wedderburn. The range and quantity of <mask>'s writing, and its complex, allusive and associative method of expression, cause certain difficulties. In 1898, <mask>. Hobson observed that in attempting to summarise Ruskin's thought, and by extracting passages from across his work, "the spell of his eloquence is broken". Clive Wilmer has written, further, that, "The anthologising of short purple passages, removed from their intended contexts [... is] something which Ruskin himself detested and which has

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John A


title: John Ruskin

texts:
 bedevilled his reputation from the start." Nevertheless, some aspects of Ruskin's theory and criticism require further consideration. Art and design criticism
Ruskin's early work defended the reputation of J. M. W. Turner. He believed that all great art should communicate an understanding and appreciation of nature.Accordingly, inherited artistic conventions should be rejected. Only by means of direct observation can an artist, through form and colour, represent nature in art. He advised artists in Modern Painters I to: "go to Nature in all singleness of heart... rejecting nothing, selecting nothing and scorning nothing." By the 1850s. <mask> was celebrating the Pre-Raphaelites, whose members, he said, had formed "a new and noble school" of art that would provide a basis for a thoroughgoing reform of the art world. For Ruskin, art should communicate truth above all things. However, this could not be revealed by mere display of skill, and must be an expression of the artist's whole moral outlook.Ruskin rejected the work of Whistler because he considered it to epitomise a reductive mechanisation of art. <mask>'s strong rejection of Classical tradition in The Stones of Venice typifies the inextricable mix of aesthetics and morality in his thought: "Pagan in its origin, proud and unholy in its revival, paralysed in its old age... an architecture invented, as it seems, to make plagiarists of its architects, slaves of its workmen, and sybarites of its inhabitants; an architecture in which intellect is idle, invention impossible, but in which all luxury is gratified and all insolence fortified." Rejection of


title: John Ruskin

texts: mechanisation and standardisation informed <mask>'s theories of architecture, and his emphasis on the importance of the Medieval Gothic style. He praised the Gothic for what he saw as its reverence for nature and natural forms; the free, unfettered expression of artisans constructing and decorating buildings; and for the organic relationship he perceived between worker and guild, worker and community, worker and natural environment, and between worker and God. Attempts in the 19th century to reproduce Gothic forms (such as pointed arches), attempts he had helped inspire, were not enough to make these buildings expressions of what <mask> saw as true Gothic feeling, faith, and organicism. For <mask>, the Gothic style in architecture embodied the same moral truths he sought to promote in the visual arts. It expressed the 'meaning' of architecture—as a combination of the values of strength, solidity and aspiration—all written, as it were, in stone.For Ruskin, creating true Gothic architecture involved the whole community, and expressed the full range of human emotions, from the sublime effects of soaring spires to the comically ridiculous carved grotesques and gargoyles. Even its crude and "savage" aspects were proof of "the liberty of every workman who struck the stone; a freedom of thought, and rank in scale of being, such as no laws, no charters, no charities can secure." Classical architecture, in contrast, expressed a morally vacuous and repressive standardisation. Ruskin associated Classical values with modern developments, in particular with the demoralising consequences of the industrial revolution, resulting


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 in buildings such as The Crystal Palace, which he criticised. Although <mask> wrote about architecture in many works over the course of his career, his much-anthologised essay "The Nature of Gothic" from the second volume of The Stones of Venice (1853) is widely considered to be one of his most important and evocative discussions of his central argument. <mask>'s theories indirectly encouraged a revival of Gothic styles, but <mask> himself was often dissatisfied with the results. He objected that forms of mass-produced faux Gothic did not exemplify his principles, but showed disregard for the true meaning of the style.Even the Oxford University Museum of Natural History, a building designed with <mask>'s collaboration, met with his disapproval. The O'Shea brothers, freehand stone carvers chosen to revive the creative "freedom of thought" of Gothic craftsmen, disappointed him by their lack of reverence for the task. <mask>'s distaste for oppressive standardisation led to later works in which he attacked laissez-faire capitalism, which he thought was at its root. His ideas provided inspiration for the Arts and Crafts Movement, the founders of the National Trust, the National Art Collections Fund, and the Society for the Protection of Ancient Buildings. <mask>'s views on art, wrote Kenneth Clark, "cannot be made to form a logical system, and perhaps owe to this fact a part of their value." Ruskin's accounts of art are descriptions of a superior type that conjure images vividly in the mind's eye. Clark neatly summarises the key features of <mask>'s writing on art and architecture:
 Art is not a matter of taste, but

masks: Ruskin Ruskin Ruskin Ruskin Ruskin Ruskin Ruskin


title: John Ruskin

texts: involves the whole man.Whether in making or perceiving a work of art, we bring to bear on it feeling, intellect, morals, knowledge, memory, and every other human capacity, all focused in a flash on a single point. Aesthetic man is a concept as false and dehumanising as economic man. Even the most superior mind and the most powerful imagination must found itself on facts, which must be recognised for what they are. The imagination will often reshape them in a way which the prosaic mind cannot understand; but this recreation will be based on facts, not on formulas or illusions. These facts must be perceived by the senses, or felt; not learnt. The greatest artists and schools of art have believed it their duty to impart vital truths, not only about the facts of vision, but about religion and the conduct of life. Beauty of form is revealed in organisms which have developed perfectly according to their laws of growth, and so give, in his own words, 'the appearance of felicitous fulfilment of function.'This fulfilment of function depends on all parts of an organism cohering and co-operating. This was what he called the 'Law of Help,' one of <mask>'s fundamental beliefs, extending from nature and art to society. Good art is done with enjoyment. The artist must feel that, within certain reasonable limits, he is free, that he is wanted by society, and that the ideas he is asked to express are true and important. Great art is the expression of epochs where people are united by a common faith and a common purpose, accept their laws, believe in their leaders, and take a serious view of human destiny. Historic


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texts:
 preservation
<mask>'s belief in preservation of ancient buildings had a significant influence on later thinking about the distinction between conservation and restoration. He was a strong proponent of the former, while his contemporary, Eugène Viollet-le-Duc, promoted the latter.In The Seven Lamps of Architecture, (1849) <mask> wrote:

This abhorrence of restoration is in marked contrast to Viollet-le-Duc, who wrote that restoration is a "means to reestablish [a building] to a finished state, which may in fact never have actually existed at any given time." For Ruskin, the "age" of a building was crucially significant as an aspect in its preservation: "For, indeed, the greatest glory of a building is not in its stones, not in its gold. Its glory is in its Age, and in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay, even of approval or condemnation, which we feel in walls that have long been washed by the passing waves of humanity." Critique of political economy
Ruskin wielded a critique of political economy of orthodox, 19th-century political economy principally on the grounds that it failed to acknowledge complexities of human desires and motivations (broadly, "social affections"). He began to express such ideas in The Stones of Venice, and increasingly in works of the later 1850s, such as The Political Economy of Art (A Joy for Ever), but he gave them full expression in the influential and at the time of publication, very controversial essays, Unto This Last. At the root of his theory, was <mask>'s dissatisfaction with the role and position of the worker, and especially the


title: John Ruskin

texts:
 artisan or craftsman, in modern industrial capitalist society. <mask> believed that the economic theories of Adam Smith, expressed in The Wealth of Nations had led, through the division of labour to the alienation of the worker not merely from the process of work itself, but from his fellow workmen and other classes, causing increasing resentment.(See The Stones of Venice above.) <mask> argued that one remedy would be to pay work at a fixed rate of wages, because human need is consistent and a given quantity of work justly demands a certain return. The best workmen would remain in employment because of the quality of their work (a focus on quality growing out of his writings on art and architecture). The best workmen could not, in a fixed-wage economy, be undercut by an inferior worker or product. In the preface to Unto This Last (1862), Ruskin recommended that the state should underwrite standards of service and production to guarantee social justice. This included the recommendation of government youth-training schools promoting employment, health, and 'gentleness and justice'; government manufactories and workshops; government schools for the employment at fixed wages of the unemployed, with idlers compelled to toil; and pensions provided for the elderly and the destitute, as a matter of right, received honourably and not in shame. Many of these ideas were later incorporated into the welfare state.Controversies

Turner's erotic drawings
Until 2005, biographies of both J. M. W. Turner and <mask> had claimed that in 1858 Ruskin burned bundles of erotic paintings and drawings by Turner to protect Turner's


title: John Ruskin

texts:
 posthumous reputation. <mask>'s friend Ralph Nicholson Wornum, who was Keeper of the National Gallery, was said to have colluded in the alleged destruction of Turner's works. In 2005, these works, which form part of the Turner Bequest held at Tate Britain, were re-appraised by Turner Curator Ian Warrell, who concluded that <mask> and Wornum had not destroyed them. Sexuality
<mask>'s sexuality has been the subject of a great deal of speculation and critical comment. His one marriage, to Effie Gray, was annulled after six years owing to non-consummation. Effie, in a letter to her parents, claimed that Ruskin found her "person" repugnant:    He alleged various reasons, hatred of children, religious motives, a desire to preserve my beauty, and finally this last year he told me his true reason... that he had imagined women were quite different to what he saw I was, and that the reason he did not make me his Wife was because he was disgusted with my person the first evening 10th April [1848]. Ruskin told his lawyer during the annulment proceedings:   It may be thought strange that I could abstain from a woman who to most people was so attractive.But though her face was beautiful, her person was not formed to excite passion. On the contrary, there were certain circumstances in her person which completely checked it. The cause of Ruskin's "disgust" has led to much conjecture. Mary Lutyens speculated that he rejected Effie because he was horrified by the sight of her pubic hair. Lutyens argued that Ruskin must have known the female form only through Greek statues and paintings of nudes which lacked pubic hair. However,


title: John Ruskin

texts:
 Peter Fuller wrote, "It has been said that he was frightened on the wedding night by the sight of his wife's pubic hair; more probably, he was perturbed by her menstrual blood." Ruskin's biographers Tim Hilton and <mask> also took the view that menstruation was the more likely explanation, though Batchelor also suggests that body-odour may have been the problem.There is no evidence to support any of these theories. William Ewart Gladstone said to his daughter Mary, "should you ever hear anyone blame Millais or his wife, or Mr. <mask> [for the breakdown of the marriage], remember that there is no fault; there was misfortune, even tragedy. All three were perfectly blameless." The fullest story of the Ruskins' marriage to date has been told by the scholar Robert Brownell. <mask>'s later relationship with Rose La Touche has led to claims that he started a correspondence with her when he met her at the age of nine. In fact, he did not approach her as a suitor until on or near her eighteenth birthday. She asked him to wait for her until she was 21.Receiving no answer, he repeated his proposal. <mask> is not known to have had any sexually intimate relationships. During an episode of mental derangement after Rose died, he wrote a letter in which he insisted that Rose's spirit had instructed him to marry a girl who was visiting him at the time. It is also true that in letters from Ruskin to Kate Greenaway he asked her to draw her "girlies" (as he called her child figures) without clothing:

Will you – (it's all for your own good – !) make her stand up and then draw her for me without a cap – and, without her shoes, –

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texts:
 (because of the heels) and without her mittens, and without her – frock and frills? And let me see exactly how tall she is – and – how – round. It will be so good of and for you – And to and for me.In a letter to his physician <mask> on 15 May 1886, Ruskin wrote:

I like my girls from ten to sixteen—allowing of 17 or 18 as long as they're not in love with anybody but me.—I've got some darlings of 8—12—14—just now, and my Pigwiggina here—12—who fetches my wood and is learning to play my bells.Pigwiggina is a nickname Ruskin used for the girl as she looked after (lambs and) piglets; c.f. Ruskin's biographers disagree about the allegation of "paedophilia". Tim Hilton, in his two-volume biography, asserts that Ruskin "was a paedophile" but leaves the claim unexplained, while <mask> argues that the term is inappropriate because Ruskin's behaviour does not "fit the profile". Others point to a definite pattern of "nympholeptic" behaviour with regard to his interactions with girls at a Winnington school. However, there is no evidence that Ruskin ever engaged in any sexual activity with anyone at all. According to one interpretation, what Ruskin valued most in pre-pubescent girls was their innocence; the fact that they were not (yet) fully developed sexual beings is what attracted him. An exploration of this topic by James L. Spates declares that "whatever idiosyncratic qualities his erotic expressions may have possessed, when it comes to matters of sexual capability and interest, there is every reason to conclude that <mask> was physically and emotionally normal."Common law of business balance
Ruskin was not a fan of

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John Ruskin


title: John Ruskin

texts:
 the statement does not appear in <mask>'s published works. Early in the 20th century, this statement appeared—without any authorship attribution—in magazine advertisements, in a business catalogue, in student publications, and, occasionally, in editorial columns. Later in the 20th century, however, magazine advertisements, student publications, business books, technical publications, scholarly journals, and business catalogues often included the statement with attribution to Ruskin. In the 21st century, and based upon the statement's applicability of the issues of quality and price, the statement continues to be used and attributed to <mask>—despite the questionable nature of the attribution. For many years, various Baskin-Robbins ice cream parlours prominently displayed a section of the statement in framed signs. ("There is hardly anything in the world that someone cannot make a little worse and sell a little cheaper, and the people who consider price alone are that man's lawful prey.") The signs listed <mask> as the author of the statement, but the signs gave no information on where or when <mask> was supposed to have written, spoken, or published the statement.Due to the statement's widespread use as a promotional slogan, and despite questions of <mask>'s authorship, it is likely that many people who are otherwise unfamiliar with <mask> now associate him with this statement. Definitions

The OED credits J<mask> with the first quotation in 152 separate entries. Some include:
 Pathetic fallacy: <mask> coined this term in Modern Painters III (1856) to describe the ascription of human emotions to inanimate objects

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Ruskin
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Ruskin


title: John Ruskin

texts: and impersonal natural forces, as in "Nature must be gladsome when I was so happy" (Charlotte Brontë, Jane Eyre). Fors Clavigera: <mask> gave this title to a series of letters he wrote "to the workmen and labourers of Great Britain" (1871–84). The name was intended to signify three great powers that fashion human destiny, as Ruskin explained at length in Letter 2 (February 1871). These were: force, symbolised by the club (clava) of Hercules; Fortitude, symbolised by the key (clavis) of Ulysses; and Fortune, symbolised by the nail (clavus) of Lycurgus. These three powers (the "fors") together represent human talents and abilities to choose the right moment and then to strike with energy.The concept is derived from Shakespeare's phrase "There is a tide in the affairs of men/ Which, taken at the flood, leads on to fortune" (Brutus in Julius Caesar). <mask> believed that the letters were inspired by the Third Fors: striking out at the right moment.For a full and concise introduction to the work, see Dinah Birch, "Introduction", in <mask>, Fors Clavigera, ed. Dinah Birch (Edinburgh University Press, 2000), pp. xxxiii–xlix. Illth: Used by Ruskin as the antithesis of wealth, which he defined as life itself; broadly, where wealth is 'well-being', illth is "ill-being". Theoria: Ruskin's 'theoretic' faculty – theoretic, as opposed to aesthetic – enables a vision of the beautiful as intimating a reality deeper than the everyday, at least in terms of the kind of transcendence generally seen as immanent in things of this world. For an example of the influence of <mask>'s concept of theoria, see Peter Fuller.Modern Atheism:

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Ruskin


title: John Ruskin

texts:
 <mask> applied this label to "the unfortunate persistence of the clergy in teaching children what they cannot understand, and in employing young consecrate persons to assert in pulpits what they do not know." Excrescence: <mask> defined an "excrescence" as an outgrowth of the main body of a building that does not harmonise well with the main body. He originally used the term to describe certain gothic revival features also for later additions to cathedrals and various other public buildings, especially from the Gothic period. Fictional portrayals
 Ruskin figures as Mr Herbert in The New Republic (1878), a novel by one of his Oxford undergraduates, William Mallock (1849–1923). The Love of John Ruskin (1912) a silent movie about Ruskin, Effie and Millais. Edith Wharton's False Dawn novella, the first in the 1924 Old New York series has the protagonist meet <mask>. Ruskin was the inspiration for either the Drawling Master or the Gryphon in Alice's Adventures in Wonderland.Dante's Inferno (1967) Ken Russell's biopic for television of Rossetti, in which Ruskin is played by Clive Goodwin
 The Love School (1975) a BBC TV series about the Pre-Raphaelites, starring David Collings (Ruskin), Anne Kidd (Effie), Peter Egan (Millais). A novel about the marriage of <mask>in. Dear Countess (1983) a radio play by Elizabeth Morgan, with Derek Jacobi (Ruskin), Bridget McCann (Gray), Timothy West (Old Mr Ruskin) Michael Fenner (Millais). The author played Ruskin's mother. Peter Hoyle's novel, Brantwood: The Story of an Obsession (1986, ) is about two cousins who pursue their interest in Ruskin to his Coniston home. The Passion of

masks:
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Ruskin
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John Rusk


title: John Ruskin

texts: <mask>in (1994), a film directed by Alex Chapple. Modern Painters (1995) an opera about Ruskin by David Lang.Parrots and Owls (1994) a radio play by <mask> about <mask>'s attempt to revive Gothic architecture and his connection to the O'Shea brothers. The Countess (1995), a play written by Gregory Murphy, dealing with Ruskin's marriage. A novel in which Ruskin makes his last visit to Amiens cathedral in 1879. The Order of Release (1998), a radio play by Robin Brooks about Ruskin (Bob Peck), Effie (Sharon Small) and Millais (David Tennant). Ruskin and the Hinksey diggings form the backdrop to Ann Harries' novel, Manly Pursuits (1999). A collection of short stories that includes Come, Gentle Nightabout Ruskin and Effie's wedding night. Mrs Ruskin (2003), a play by Kim Morrissey dealing with <mask>'s marriage."Sesame and Roses" (2007), a short story by Grace Andreacchi that explores Ruskin's twin obsessions with Venice and Rose La Touche. Desperate Romantics (2009), a six-part BBC drama serial about the Pre-Raphaelite Brotherhood. <mask> is played by Tom Hollander. Benjamin, Melanie (2010). Alice I Have Been. . A fictionalized account of the life of Alice Liddell Hargreaves, the inspiration for Lewis Carroll's Alice's Adventures in Wonderland and Through the Looking Glass. Mr. Turner (2014), a biopic of J. M. W. Turner with Ruskin portrayed as a precocious prig by Joshua McGuire. Effie Gray (2014), a biopic about the Ruskin-Gray-Millais love triangle, written by Emma Thompson and featuring Greg Wise (Ruskin), Dakota Fanning (Gray) and Tom Sturridge (Millais).Light, Descending (2014) is a biographical novel about

masks:
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John Purser
Ruskin
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title: John Ruskin

texts:
 <mask>in by Octavia Randolph. Gallery
Paintings

Drawings

Select bibliography
  It is the standard scholarly edition of <mask>'s work, the Library Edition, sometimes called simply Cook and Wedderburn. The volume in which the following works can be found is indicated in the form: (Works [followed by the volume number]). Works by Ruskin
 Poems (written 1835–46; collected 1850) (Works 2)
 The Poetry of Architecture (serialised The Architectural Magazine 1837–38; authorised book, 1893) (Works 1)
 Letters to a College Friend (written 1840–45; published 1894) (Works 1)
 The King of the Golden River, or the Black Brothers. A Legend of Stiria (written 1841; published 1850) (Works 1)
 Modern Painters (5 vols.) (1843–60) (Works 3–7)
 Vol. I (1843) (Parts I and II) Of General Principles and of Truth (Works 3)
 Vol.II (1846) (Part III) Of the Imaginative and Theoretic Faculties (Works 4)
 Vol. III (1856) (Part IV) Of Many Things (Works 5)
 Vol. IV (1856) (Part V) Mountain Beauty (Works 6)
 Vol. V (1860) (Part VI) Of Leaf Beauty (Part VII) Of Cloud Beauty (Part VIII) Of Ideas of Relation (1) Of Invention Formal (Part IX) Of Ideas of Relation (2) Of Invention Spiritual (Works 7)
 The Seven Lamps of Architecture (1849) (Works 8)
 The Stones of Venice (3 vols) (1851–53)
 Vol. I. The Foundations (1851) (Works 9)
 Vol. II.The Sea–Stories (1853) (Works 10) – containing the chapter "The Nature of Gothic"
 Vol. III. 1–7 covering annually 1871–1877, and vol. 8, Letters 85–96, covering 1878–84)
 Volume I. Letters 1–36 (1871–73) (Works 27)
 Volume II. Letters 37–72 (1874–76) (Works 28)
 Volume III. <mask>in) (1876–88) (Works 31–32)

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John Rusk


title: John Ruskin

texts:
 Laws of Fésole: A Familiar Treatise on the Elementary Principles and Practice of Drawing and Painting as Determined by the Tuscan Masters (arranged for the use of schools) (1877–78) (Works 15)
 St Mark's Rest (1877–84, book 1884) (Works 24)
 Fiction, Fair and Foul (serialised Nineteenth Century 1880–81, incorporated in On the Old Road (1885)) (Works 34)
 The Bible of Amiens (the first part of Our Fathers Have Told Us) (1880–85) (Works 33)
 The Art of England: Lectures Given in Oxford, During his Second Tenure of the Slade Professorship (delivered 1883, book 1884) (Works 33)
 The Storm-Cloud of the Nineteenth Century: Two Lectures Delivered at the London Institution, 4 and 11 February 1884 (1884) (Works 34)
 The Pleasures of England: Lectures Given in Oxford, During his Second Tenure of the Slade Professorship (delivered 1884, published 1884–85) (Works 33)
 Præterita: Outlines of Scenes and Thoughts Perhaps Worthy of Memory in My Past Life (3 vols.)(1885–89) (Works 35)
 Dilecta: Correspondence, Diary Notes, and Extracts from Books, Illustrating 'Praeterita''' (1886, 1887, 1900) (Works 35)

Selected diaries and letters
 The Diaries of <mask>in eds. Joan Evans and <mask> Whitehouse (Clarendon Press, 1956–59)
 The Brantwood Diary of <mask> ed. Helen Gill Viljoen (Yale University Press, 1971)
 A Tour of the Lakes in Cumbria. <mask>'s Diary for 1830 eds. Van Akin Burd and James S. Dearden (Scolar, 1990)
 The Winnington Letters: <mask>'s correspondence with Margaret Alexis Bell and the children at Winnington Hall ed. Van Akin Burd (Harvard University Press, 1969)
 The Ruskin Family Letters: The Correspondence of <mask>

masks:
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John Howard
John Ruskin
John Ruskin
John Ruskin
John James


title: John Ruskin

texts:
 <mask>, his wife, and their son <mask>, 1801–1843 ed. Van Akin Burd (2 vols.)(Cornell University Press, 1973)
 The Correspondence of <mask> and Charles Eliot Norton ed. <mask> Bradley and Ian Ousby (Cambridge University Press, 1987)
 The Correspondence of Thomas Carlyle and <mask> ed. George Allen Cate (Stanford University Press, 1982)
 <mask>'s Correspondence with Joan Severn: Sense and Nonsense Letters ed. Rachel Dickinson (Legenda, 2008)

Selected editions of Ruskin still in print
 Praeterita [<mask>'s autobiography] ed. Francis O' Gorman (Oxford University Press, 2012)
 Unto this Last: Four essays on the First Principles of Political Economy intro. Andrew Hill (Pallas Athene, 2010)
 Unto This Last And Other Writings ed. Clive Wilmer (Penguin, 1986)
 Fors Clavigera: Letters to the Workmen and Labourers of Great Britain ed.Dinah Birch (Edinburgh University Press, 1999)
 The Storm-Cloud of the Nineteenth-Century preface by Clive Wilmer and intro. Peter Brimblecombe (Pallas Athene, 2012)
 The Nature of Gothic (Pallas Athene, 2011) [facsimile reprint of Morris's Kelmscott Edition with essays by Robert Hewison and Tony Pinkney]
 Selected Writings ed. Dinah Birch (Oxford University Press, 2009)
 Selected Writings (originally Ruskin Today) ed. Kenneth Clark (Penguin, 1964 and later impressions)
 The Genius of <mask>: Selections from his Writings ed. <mask>. Rosenberg (George Allen and Unwin, 1963)
 Athena: Queen of the Air (Annotated) (originally The Queen of the Air: A Study of the Greek Myths of Cloud and Storm) ed. Na Ding, foreword by Tim Kavi, brief literary bio by Kelli M. Webert (TiLu Press, 2013 electronic

masks:
Ruskin
John
John Ruskin
John Lewis
John Ruskin
John Ruskin
Ruskin
John Ruskin
John D


title: John Ruskin

texts:
 book version, paper forthcoming)Ruskin on Music ed Mary Augusta Wakefield (Creative Media Partners LLC, 2015)

See also

 <mask> Devereux
 <mask>, Nebraska
 Ruskin's diggers in Ferry Hinksey (1874)
 Ruskin's Ride, a bridleway in Oxford
 Trenton, Missouri, home of the first Ruskin College in the United States
 Charles Augustus Howell
 The English House Mount Ruskin

References

Sources
 Robert Hewison, "<mask>, <mask> (1819–1900)", Oxford Dictionary of National Biography (ODNB) Oxford University Press, 2004; online edition. Francis O'Gorman (1999) <mask> (Pocket Biographies) (Sutton Publishing)
 James S. Dearden (2004), <mask> (Shire Publications)

Further reading
General
Barringer, Tim.et al., ed. Unto This Last: Two Hundred Years of <mask>in. New Haven: Yale University Press, 2019. ISBN 978-0-300-24641-4. Conner, Patrick. <mask>. New York: Macmillan Press, 1979.Cook, E. T.  <mask>, <mask>. Dictionary of National Biography (1st supplement). London: Smith, Elder & Co, 1901. Dearden, James S. <mask>in's Bookplates. The Book Collector (1964) 13 no 3 (autumn): 335-339. Dearden, J. S. The Production and Distribution of <mask>'s Poems 1850. The Book Collector (1968)17 no 2 (summer): 151-167.Dearden, J. S. Wise and <mask>. The Book Collector (1969) 18.no.1 (spring): 45-56. Freeman, Kelly; Hughes, Thomas. et al. eds. <mask>’s Ecologies: Figures of Relation from Modern Painters to The Storm-Cloud. The Courtauld, 2021.ISBN 978-1-907485-13-8. Hanley, K; Hull, C. S. eds. <mask>'s Continental Tour 1835: The Written Records and Drawings. Cambridge: Legenda,  2016. ISBN 978-1-906540-85-2. Hewison, Robert. <mask>: The Argument of

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Savage Ruskin
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John
John Rusk
John Ruskin
Ruskin
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John Ruskin
John Ruskin


title: John Ruskin

texts:
 the Eye.Thames and Hudson, 1976. Hugh, Chriholm. ed. <mask>, <mask>. Encyclopædia Britannica (11th ed.). Cambridge University Press, 1911. Jackson, Kevin.The Worlds of <mask>. Pallas Athene, 2010. Quill, Sarah. Ruskin's Venice: The Stones Revisited. Ashgate, 2000. Quigley Carroll. Tragedy and Hope: A History Of The World In Our Time.GSG & Associates, 1966. Rosenberg, J. G. The Darkening Glass: A Portrait of <mask>'s Genius. Columbia University Press, 1961. Viljoen, Helen Gill. <mask>'s Scottish Heritage: A Prelude. University of Illinois Press, 1956. Waldstein, C. The Work of <mask>in
 W. G. Collingwood (1893) The Life and Work of <mask>in 1–2. Methuen. (The Life of <mask>in, sixth edition (1905).) – Note that the title was slightly changed for the 1900 2nd edition and later editions.E. T. Cook (1911) The Life of <mask>in 1–2. George Allen. (The Life of <mask>in, vol. 1 of the second edition (1912); The Life of <mask>in, vol. 2 of the second edition (1912))
 Derrick Leon (1949) <mask>: The Great Victorian (Routledge & Kegan Paul)
 Tim Hilton (1985) <mask>: The Early Years (Yale University Press)
 Tim Hilton (2000) <mask>: The Later Years (Yale University Press)
 <mask> (2000) <mask>: No Wealth But Life (Chatto & Windus)
 Robert Hewison (2007) <mask>'' (Oxford University Press)

External links
 Ruskin Today
 The Eighth Lamp, Ruskin Studies Today. Ruskin journal

Library collections
 UK Museum, Library and Archive collections relating to Ruskin at Cornucopia.org.uk. Retrieved
 <mask>in texts in the Baldwin Library of Historical Children's Literature Digital Collection.Retrieved 2010-10-19

Electronic editions

masks:
Ruskin
John
John Ruskin
Ruskin
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John Ruskusk
John Rusk
John Rusk
John Rusk
John Rusk
John Rusk
Ruskin
John Ruskin
John Ruskin
John Batchelor
John Ruskin
John Ruskin
John Rusk


title: John Ruskin

texts:
 Liverpool Museums audio files on Ruskin

Archival material
 <mask> letter to Brantwood at Mount Holyoke College
 <mask> letter to Simon at Mount Holyoke College

 Birmingham Museums & Art Gallery's online biography and gallery . Retrieved 2010-10-19
 Sources for the Study of <mask> and the Guild of St George. Produced by Sheffield City Council's Libraries and Archives. Archival material at
 Finding aid to <mask> letters at Columbia University. Rare Book & Manuscript Library. <mask> Ruskin Collection. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.1819 births
1900 deaths
19th-century British journalists
19th-century British philosophers
19th-century economists
19th-century English painters
Alumni of Christ Church, Oxford
Alumni of King's College London
Anti-consumerists
Architectural theoreticians
Arts and Crafts movement artists
British anti-capitalists
British male journalists
Burials in Cumbria
Conchologists
English architecture writers
English art critics
English environmentalists
English essayists
English male painters
English people of Scottish descent
English philosophers
English watercolourists
Guild of St George
Male essayists
Painters from London
People associated with Anglia Ruskin University
People associated with the Pre-Raphaelite Brotherhood
Romantic critics of political economy
Slade Professors of Fine Art (University of

masks:
Ruskin
Ruskin
John Ruskin
John Ruskin
John


title: Mervyn Warren

texts:
<mask> (born February 29, 1964) is an American film composer, record producer, music conductor, music arranger, lyricist, songwriter, pianist, and vocalist. <mask> is a five-time Grammy Award winner and a 10-time Grammy Award nominee. <mask> has written the underscore and songs for many feature and television films and has written countless arrangements in a variety of musical styles for producers Quincy Jones, David Foster, Arif Mardin, and dozens of popular recording artists, including extensive work on Jones' Back on the Block, Q's Jook Joint, and Q: Soul Bossa Nostra. <mask> has also produced numerous jazz, pop, R&B, contemporary Christian, and gospel artists, typically arranging those recordings, often performing on them (on piano, keyboards, or vocals), and often writing or co-writing the melodies and lyrics. <mask> is best known as an original member of the a cappella vocal group Take 6, for having composed the underscore to the number-1 film The Wedding Planner (2001), for producing and arranging songs for the hit film Sister Act 2 (1993), and for producing and arranging most of the soundtrack to the 1996 Whitney Houston film The Preacher's Wife—the best-selling Gospel album of all time. Early life and education
<mask> was born on a leap day (February 29) in Huntsville, Alabama. He is the son of <mask><mask>, a university administrator, professor and author, and Barbara J<mask>, a university professor who specialized in early childhood education.His mother taught him reading and math when he was three years old, which enabled him to complete the first and second grades in one year. Upon beginning the third grade, his classmates, thinking he had been "skipped" a grade, taunted and ostracized him for the next

masks:
Mervyn Edwin Warren
Warren
Warren
Warren
Warren
Warren
Mervyn A
. Warren
. Warren


title: Mervyn Warren

texts:
 several years. During that time, he immersed himself in playing the piano, which he had begun under his mother's tutelage at the age of five. He took piano lessons briefly at the ages of six and 10 but lost interest, preferring improvising to memorization. Because his parents are Seventh-day Adventists, he was forbidden from listening to pop music or rhythm and blues. He was punished at the age of twelve when he got caught with a copy of the album Gratitude by Earth, Wind & Fire. Instead he listened to easy-listening, contemporary Christian, classical, choral music, the Mantovani Orchestra, Edwin Hawkins, and the Swingle Singers.He grew up near Oakwood University, where he saw ensembles perform. At fifteen, he enrolled in a summer program at Alabama A&M University for high school students who excelled at math and science. In 1981 he was valedictorian at Oakwood Adventist Academy, then a few months later entered Oakwood University. He graduated in 1985 with a degree in music. Two years later he received a master's degree in arranging from the University of Alabama, having studied with Steve Sample Sr. Early musical career
At the age of five, <mask> began playing the piano by ear, after being taught a few songs by his mother. For many years thereafter, he immersed himself at the piano—learning to play various styles by ear and creating new arrangements of existing pieces.As early as the age of seven, he was accompanying vocalists at the piano, for their performances at school or church. He soon became sought after as an accompanist in the community and continued to do so, frequently, throughout college and graduate school. At the age of 10, <mask> became the regular accompanist for a vocal group, composed of five of his

masks: Warren Warren


title: Mervyn Warren

texts: female classmates, and they performed regularly at school and community events. Within weeks of becoming their accompanist, <mask> began creating original arrangements for the group. When he was 12, he was asked by a classmate if he had ever considered composing an original song. Though <mask> had not previously considered doing so, always having created arrangements of preexisting songs, the suggestion prompted him to begin composing original songs and lyrics, which he taught to the aforementioned vocal group and which they began to perform publicly. <mask> had an innate inclination toward jazz and complex harmony, which was evident in both his original songs and arrangements of existing songs.This inclination was met with disdain by some of the more conservative, Christian members of the Oakwood community, resulting in an ongoing struggle between figures of authority and <mask>, as he attempted to express his musical ideas. At the age of 13, <mask> expanded the five-voice, female vocal group to a nine-voice, mixed vocal group. This group, now called The Symbolic Sounds, sang his arrangements and compositions exclusively, and remained popular in the school and community through 1981. <mask>'s first, professional recording session was for a new version of "The Lord's Prayer", set to an original melody, which <mask> co-wrote with his friend Eric Todd. It was recorded by Blessed Peace, a popular gospel choir at Oakwood University, at Sound Cell Recording Studio in Huntsville, Alabama. <mask> created the vocal arrangement, played keyboards, and assisted Todd with the overall production. During that session, studio-owner Doug Jansen Smith took note of <mask>'s abilities.Soon thereafter, <mask> became a regular

masks: Warren Warren Warren Warren Warren Warren Warren Warren Warren Warren


title: Mervyn Warren

texts: session-performer at Sound Cell, contributing arrangements, playing keyboards, and singing on various radio and TV jingles, as well as pop, rock, country, and contemporary Christian recordings. Many of those sessions included <mask>'s friend Mark Kibble, also an accomplished arranger, pianist, and vocalist (and future member of Take 6). As early as the age of 13, <mask> and Kibble, who were born five weeks apart, had performed concerts together, singing solos and duets, while taking turns providing accompaniment at the piano. One of the duets began with <mask> singing and Kibble at the piano; then, halfway through the song, <mask> would leave the stage and take over at the piano, seamlessly, at which point Kibble would take the stage to sing. In 1980, while both juniors in high school, <mask> and Kibble joined a preexisting, male, a cappella vocal quartet at Oakwood University, and the resulting sextet became known as Alliance. Alliance became known for its highly unique and complex vocal arrangements, primarily of well-known negro spirituals, but of some newer songs, as well. Most of Alliance's dazzling arrangements were created by Mark Kibble, but later, <mask> contributed a few, as well.Alliance was very popular and performed not only on the campus of Oakwood University, but in various cities across the United States. In 1983, Alliance recorded an album at Sound Cell Recording Studio, entitled Something Within for Legacy Records, a custom label founded by Henry Mosley, then-professor at Oakwood University. Mosley also served as the group's manager. Later, an unmarked, cassette copy of Something Within was given by recording artist Michael Martin Murphey to Jim Ed Norman at Warner Bros. Records in Nashville,

masks: Warren Warren Warren Warren Warren Warren


title: Mervyn Warren

texts: Tennessee. Norman loved the recording but neither he nor Murphey knew the identity of the performers. In 1987, Norman finally discovered the group's identity and promptly signed Alliance to a recording contract with Reprise Records, a division of Warner Bros. Records. Upon discovering that a rock music band had already recorded under the name "Alliance", the vocal group Alliance was renamed Take 6, released the album Take 6, and went on to earn worldwide acclaim.In 1981, <mask> enrolled at Oakwood University and joined the highly regarded touring choir The Aeolians, under the direction of Professor Alma Blackmon. <mask> remained a member of The Aeolians throughout his four-year matriculation, later becoming the ensemble's stage director, assistant conductor, and alternate accompanist. With The Aeolians, <mask> toured extensively throughout the United States, Bermuda, The Bahamas, The Virgin Islands, England, Scotland, and Wales. In 1985, <mask> composed an upbeat choral piece entitled "I Ain't Got Long To Be Here" in the style of a negro spiritual. Blackmon allowed <mask> to teach the piece to The Aeolians, and it became part of their standard repertoire. Whenever they performed it, Blackmon introduced <mask>, who would then conduct the piece. "I Ain't Got Long To Be Here" is believed to be the first student composition ever to have been performed by The Aeolians.Blackmon was a pivotal figure in <mask>'s musical development. With her he studied music theory, piano performance, and techniques of choral conducting. By coincidence, as a teenager <mask> lived in his parents' home, directly across the street from the home of Blackmon and her daughter Brenda, now Brenda Wood. As of 2010, Wood is an NBC news anchor at WXIA-TV

masks: Warren Warren Warren Warren Warren Warren Warren Warren


title: Mervyn Warren

texts:
 in Atlanta, Georgia. A Special Blend

Many members of The Aeolians also sang in other vocal groups and choirs at Oakwood University. However, because of The Aeolians' rigorous rehearsal and touring schedule, conductor Alma Blackmon had instituted a rule that no members of the ensemble could participate in extracurricular groups larger than a quartet. This was intended to limit the number of students who might collectively miss any given Aeolian performance.As such, <mask>'s nine-voice vocal group, The Symbolic Sounds, was disallowed. In response, in 1981 <mask> disbanded The Symbolic Sounds and formed the vocal group A Special Blend, consisting of two women and two men, accompanied by <mask> on piano or sometimes by a full rhythm section. He created innovative vocal arrangements for A Special Blend, whose repertoire consisted of new arrangements of familiar songs, as well as original compositions by <mask>. The group's core members were Joya Foster, Lori Bryan, Mark Kibble, and Claude V. McKnight, III. Like Alliance, A Special Blend became well-known and popular for its unique style, combining vocal jazz with contemporary Christian lyrics. A Special Blend performed many concerts throughout the United States, primarily on weekends, during the school year. <mask>, Kibble, and McKnight were members of both A Special Blend and Alliance.The groups' respective takes on vocal jazz complimented each other, and in fact they frequently concertized in tandem. At different points during A Special Blend's six-year continuance, vocalists Andraetta Huff, Sheryl Bihm, and Michelle Mayne each briefly served as members or alternate members. In reality, neither A Special Blend nor Alliance complied with Blackmon's "Rule of Four." However,

masks: Warren Warren Warren Warren Warren


title: Mervyn Warren

texts: she granted an exception for A Special Blend, since they were technically a quartet that <mask> accompanied at the piano. Alliance, on the other hand, was in clear violation, but <mask>, along with Mark Kibble and Claude V. McKnight, III, continued to perform with Alliance stealthily. Although Kibble and McKnight also sang with The Aeolians, they each did so for only one year or less. <mask> remained a member of The Aeolians throughout his four-year matriculation.In 1982, A Special Blend won the first-place trophy at the Alabama State Fair's talent competition. In 1983, A Special Blend recorded a collection of several songs at Sound Cell Studio, to serve as a demo to help the group acquire a recording contract. Like Alliance, A Special Blend caught the attention of Henry Mosley, who became the group's manager. In 1984 A Special Blend recorded an album entitled Nowhere But Up, which <mask> produced. The album was recorded at a studio in Nashville, Tennessee, for release on Mosley's Legacy Records. To attend sessions, <mask> and the group and band members made the 100-mile trip many times—often departing for Nashville after the day's classes, recording for a few hours, then returning to Huntsville after midnight, in time for the next morning's classes. Despite Oakwood University's rich tradition of vocal groups, which had spanned decades, Nowhere But Up was the first student album to feature a full rhythm section plus orchestration, including a string ensemble, a big band, a pop horn section, synthesizers, and exotic percussion, all of which <mask> arranged, though at the time he had received no formal training in orchestral writing.Upon its release, Nowhere But Up caused quite a stir within Oakwood University's rather


title: Mervyn Warren

texts: conservative community. While a small number of the most conservative faculty members expressed discontent with the album's decidedly jazzy style, the project was highly celebrated by students, other faculty, and enthusiasts, both within the Oakwood community and around the United States. Only a few thousand copies of Nowhere But Up were pressed, and it is today considered a collector's item. As of 2010, there are discussions of a possible re-release of the album on the iTunes Store in 2011, the 30th anniversary of the group's formation. A Special Blend often joined <mask> at Sound Cell Studio to sing on jingles or commercials or to provide background vocals for other artists' recordings. These recordings ran the gamut from country and pop to "easy listening" and contemporary Christian music. The group also performed background vocals on stage for recording artist Bob Bailey, during his live concert at Oakwood.In 1985, during a trip to California, A Special Blend performed at gospel-music legend Walter Hawkins' Love Center in Oakland. Aside from Hawkins and his brother, the equally celebrated Edwin Hawkins, the concert was attended by gospel-music legend Danniebelle Hall, who had been very influential upon <mask>. In fact, A Special Blend's repertoire included a unique arrangement of a Danniebelle Hall New Orleans jazz-styled piece entitled "Theme On The Thirty-Seventh", which A Special Blend performed, to Hall's delight. After the group's performance, Walter Hawkins took the stage and playfully expressed that he had not noticed A Special Blend performing any Walter Hawkins songs. From the audience, Hall replied—tongue firmly in cheek—"Well, if you'd write something decent, they would." In 1986, <mask> traveled to

masks: Warren Warren Warren


title: Mervyn Warren

texts:
 Toronto, to see the Manhattan Transfer in concert. Afterward, he waited at the backstage door, and upon the group's exit presented them with copies of Nowhere But Up.Over the years, A Special Blend had in fact been compared to the Manhattan Transfer. Some months later, while completing his master's degree at the University of Alabama, <mask> received a surprise phone call from Janis Siegel of the Manhattan Transfer, asking if he had heard from the Recording Academy. Siegel explained that members of the Manhattan Transfer had submitted Nowhere But Up for a Grammy Award nomination. Because the album was a small, independent release, it had not reached enough members of the Recording Academy to earn a Grammy nomination. However, <mask> and A Special Blend would remain forever grateful for the Transfer's magnanimous gesture. Years later, <mask> would write several arrangements for the Manhattan Transfer. Take 6
In 1980, <mask> became a member of the a cappella sextet Alliance, which in 1987 signed with Warner Bros. Records, moved to Nashville, Tennessee, changed its name to Take 6, and achieved worldwide fame in 1988.<mask> produced or co-produced most of their first two albums, Take 6 and So Much 2 Say; arranged and co-wrote many of the included songs; and with the group won his first of four Grammy Awards. <mask>'s years with Take 6 were characterized by a flurry of appearances, performances, recordings, and travel. Take 6 performed many concerts and embarked upon several concert tours, typically to sold-out audiences, both in the United States and abroad. In 1988, Take 6 toured approximately 12 U.S. cities, opening for singer Andy Williams. In 1989, Take 6 toured 40 U.S. cities, opening for jazz legend Al Jarreau. In


title: Mervyn Warren

texts: subsequent years, Take 6 headlined their own concerts and tours throughout the United States, the UK, Europe, and Japan. Take 6 also performed at a number of well-known events, venues, and jazz festivals, including Radio City Music Hall, Carnegie Hall, The Hollywood Bowl, The Special Olympics, The Monterey Jazz Festival, and The Playboy Jazz Festival.Occasionally Take 6 shared billing with other, popular contemporary-Christian recording artists, such as BeBe & CeCe Winans, the Winans, and Commissioned. The popularity of Take 6 led to collaborations with many, established artists. In fact, it was through Take 6 that <mask> first met Quincy Jones, establishing a musical friendship that would last for decades. Take 6 performed on several songs and interludes on Jones' album Back on the Block. In addition to performing with the group and contributing to their vocal arrangements, <mask> is the featured voice on "Setembro (Brazilian Wedding Song)", and he penned the lyrics for "The Verb To Be (Introduction to Wee B. Dooinit)". Jones also invited <mask> to be a featured vocalist on the song "The Secret Garden (Sweet Seduction Suite)." At the time, for personal reasons, <mask> respectfully declined the invitation.Since then, <mask> has characterized it as "one of the very few decisions in my life that I truly regret." In the years since, <mask> has arranged, produced, or co-produced numerous songs for various Jones projects. In 1989, Take 6 recorded the song "Don't Shoot Me," for the Spike Lee film Do the Right Thing. <mask> produced the recording and co-wrote "Don't Shoot Me" with Lee and with group-members Claude V. McKnight, III and David Thomas. That same year, Take 6 recorded background vocals on the Don Henley album The

masks: Warren Warren Warren Warren Warren Warren Warren


title: Mervyn Warren

texts:
 End of the Innocence. The collaboration had been requested, as a personal favor, by Jim Ed Norman, then-president of Warner Bros. Records in Nashville. Norman and Henley were longtime friends, Norman having previously produced many recordings by Henley's band The Eagles.Other notable Take 6 collaborations during that period include recordings with k.d. lang, Johnny Mathis, Stephanie Mills, Melba Moore, Joe Sample, Dino Kartsonakis, and composer Steve Dorff. During <mask>'s tenure, Take 6 recorded music videos for three songs: "Spread Love," "I L-O-V-E U," and "Ridin' The Rails," their collaboration with k.d. lang, for the 1990 film Dick Tracy. During the same period, Take 6 also recorded theme music for the television show Murphy Brown, Oprah Winfrey's television miniseries The Women of Brewster Place, and commercials for Burger King and Mitsubishi. During this period, Take 6 performed live on numerous television shows, including the 31st Grammy Awards, Good Morning America, The Today Show, David Sanborn's Good Evening, The Arsenio Hall Show, The Tonight Show, Saturday Night Live, and Late Show with David Letterman. Take 6 also performed The National Anthem at the 1988 World Series.In 1991 <mask> left Take 6 to become a full-time record producer, songwriter, arranger and film composer. Music career in Nashville
Between recording sessions and tours with Take 6, <mask> produced and wrote songs and arrangements for other musicians. Producer Greg Nelson became a mentor to him. After leaving Take 6 in 1991, <mask> remained in Nashville, where he worked with Yolanda Adams,  First Call, Larnelle Harris, James Ingram, Babbie Mason, Cindy Morgan, Sandi Patty, The Richard Smallwood Singers, Thomas Whitfield, and Bebe & Cece

masks: Warren Warren Warren Warren


title: Mervyn Warren

texts:
 Winans. In 1990, he produced two tracks on the Donna McElroy album Bigger World. The arrangement for "Come Sunday," was a collaboration with Cedric Dent of Take 6. <mask> and Dent received a Grammy Award nomination for the arrangement.Interpreting Handel
In 1991, <mask> was hired to arrange and produce an interpretation of the 1741 oratorio Messiah by George Frideric Handel that incorporated African-American music. He arranged and produced seven of the sixteen tracks of  Handel's Messiah: A Soulful Celebration, which included spirituals, blues, ragtime, swing, jazz fusion, rhythm and blues, gospel, and hip-hop. The album received the Grammy Award for Best Contemporary Soul Gospel Album and the Dove Award for Contemporary Gospel Album of the Year. Handel's Messiah: A Soulful Celebration has been officially recognized by Handel House, the George F. Handel museum in London, England. Film and music career in Los Angeles

In 1993 <mask> was hired to compose music for the film Sister Act 2: Back in the Habit. Although he intended to return to Nashville, job offers compelled him to remain in Los Angeles. He has composed and conducted orchestral scores for film and television; written, produced, and arranged songs for films and for Ron Fair, David Foster, and Quincy Jones; and has performed and recorded as a musician.He collaborated with Jeff Marx on "You Have More Friends Than You Know" for the It Gets Better organization. The song appeared on the television program Glee on April 18, 2013. Awards and honors

Grammy Awards and nominations

Soul Train Award

NAACP Image Award nominations

Dove Awards and nominations (10)

Stellar Awards

References

External links
 Mervyn <mask> <mask>siCodex Page

masks:
Warren
Warren
Warren
Warren Mevyn
Warren Mu


title: Dmitry Belik

texts:
<mask> (Russian: Дмитрий Анатольевич Белик; born in 17 October 1969) is a Russian politician who is currently a member of parliament in the State Duma of the VII convocation, a member of the United Russia party, and a member of the State Duma committee on control and regulations and a member since 5 October 2016. He had been the acting head of Sevastopol from 4 March 2014 to 13 May 2014 as he was an active participant in the occupation of Crimea by Russia. Biography

<mask> was born in Kular, Russia on 17 October 1969. According to some other sources, they indicate that he was born on 1 January 1970. <mask> moved to Sevastopol from Kemerovo in 1990. From May 1995 to June 2013, he was director, then demoted to deputy director of the private enterprise Big Crimea in Sevastopol. In 2006, he graduated from the Modern Humanitarian Academy in Moscow with a degree in economics.In 2007, he founded the first private Orthodox general education school "Mariampol" in Sevastopol. Belyk was the member of the Sevastopol City Council of the IV, V and VI convocations. He was the chairman of the Land Commission; in the 5th convocation, and the chairman of the Standing Committee on Urban Development Policy, Regulation of Land and Water Relations. In the 6th convocation, he was the chairman of the standing commission on industry, agro-industrial complex, trade and entrepreneurship, and a member of the standing commission on social and humanitarian issues, as from 21 June 2013. He was a member of the Party of Regions. Simultaneously, from 21 June 2013, Belyk had become the deputy chairman of the Sevastopol City State Administration for Social Policy. From 4 March 2014 to 13 May 2014, <mask> served as the acting head of the administration of Sevastopol.He supported the beginning of the temporary occupation of Crimea, and took an active part in the work of the occupying government. Since 2014, he had been a deputy secretary of the Sevastopol Regional Branch and a member of the Regional Political Council of the Sevastopol Branch of the United Russia party. Since 2015, he has been wanted by the

masks:
Dmitry Anatolyevich Belik
Dmitry Belik
Belik
Belik


title: Dmitry Belik

texts:
 prosecutor's office of Ukraine on suspicion of high treason. On 22 May 2016, he won the preliminary party vote of the United Russia party, and was nominated as a candidate for the State Duma in Sevastopol at the 15th party congress. In the parliamentary elections of the State Duma on 18 September 2016, <mask>, as in Sevastopol single-mandate constituency No. 219, had won in a single-mandate constituency, gaining 46,960 votes (33.24%). In the VII convocation of the State Duma, he is a member of the United Russia faction, and is a member of the committee on budget and taxes.Since November 2016, <mask>, and among the 6 members of the State Duma elected in Crimea, has been subject to sanctions imposed by the European Union, with a ban on entry to the territory of the European Community and freezing of their accounts in the EU. Legislative activity

Between 2016 and 2019, during the term of office of a deputy of the State Duma of the VII convocation, <mask> co-authored 97 legislative initiatives and amendments to draft federal laws. Political activity

<mask> had been an author of more than 80 draft decisions of the Sevastopol City Council, including with regulation on public hearings, the concept of preserving the historical buildings in Sevastopol, on the limitation of the number of floors in the historical center of the city, and on the prohibition of the use of communal property for the implementation of the "methadone program". He also had initiated citywide public hearings, which includes, "City against drugs" in a call against the introduction of the methadone program in Sevastopol. “We speak Russian - we study in Russian”, with the Russian language, based on their results, a decision was made by the City Council session on the recognition of Russian as the language of regional communication, and “On the ways of development of KP“ Sevelektroavtotrans ”,  which is about the reorganization of the Sevastopol trolleybus system. Belyk had also been a delegate of the 1st Congress in Severodonetsk, the 2nd Congress of Deputies of all levels of the southeastern and the central

masks: Belik Belik Belik Belik


title: Dmitry Belik

texts:
 Ukraine in Severodonetsk. In 2008, he was one of the initiators of the installation of the monument to Catherine II, opposed the installation on the Grafskaya pier of the plaque "90 years of the Ukrainian fleet", was one of the initiators of the proposal to award Yury Luzhkov the title of "Honorary Citizen of Sevastopol."On 30 December 2009, he initiated an extraordinary session of the Sevastopol City Council on the situation in Sevastopol from 26 December 2009. Then, the Svoboda party marched down Lenin Street, which the deputies demanded a ban on the activities of Svoboda members. In the 2012 elections to the Verkhovna Rada, Belyk ran from the Russian Bloc party in the 224th constituency of Sevastopol; gaining 27.8% of the votes, and became the second after Pavlo Lebedyev. He did not participate in the repeated elections in connection with the transfer of Lebedyev to the post of Minister of Defense of Ukraine, but supporting the oligarch Vadym Novynskyi. Since 26 December 2012, he headed the Coordination Council of Organizations of Russian Compatriots (KSORS) at the Consulate General of Russia in Crimea. On 16 July 2013, he announced his withdrawal from the Russian Bloc faction of the Sevastopol City Council. <mask> became the acting head of the Sevastopol Administration, on 7 March 2014, and issued an order banning the use of the state Ukrainian language in the Sevastopol City State Administration in office work and document flow and on the use of Russian as the official language for paperwork and document flow.Personal life

<mask> had also been a general producer of the documentary film about Stanislav Chyzh, who was the People's Artist of Crimea, the honorary citizen of Sevastopol, and creator of the monument to Catherine II. Family

He is married, and is raising three children (four, according to other sources)

References

External link

1969 births
Living people
21st-century Russian politicians
Seventh convocation members of the State Duma (Russian Federation)
Party of Regions politicians
United Russia politicians
Eighth convocation members of the State Duma (Russian

masks: Belik Belik


title: William H. Steele (United States Army officer)

texts:
Former Lieutenant Colonel <mask><mask> (born ) is a former U.S. Army Reservist from Prince George, Virginia. He was charged with aiding the enemy and other breaches of military law, mostly in connection with his role as commander of the 451st Military Police Detachment and Camp Cropper, a holding facility for security detainees in Iraq. He was acquitted of aiding the enemy, but sentenced to 2 years confinement on other charges and was dismissed from the military. He was confined at the United States Disciplinary Barracks at Fort Leavenworth, Kansas. <mask> was only the second officer to be charged with aiding the enemy during Operation Iraqi Freedom, the other being Captain James Yee. <mask><mask> was the only field-grade officer to be charged with aiding the enemy during all of Operation Iraqi Freedom. Biography

Background
<mask> is originally from Frostburg, Maryland and a 1973 graduate of Beall High School.He is a former police officer from Anne Arundel County, Maryland and a former Hernando County, Florida sheriff’s deputy. Civilian legal incidents
After <mask> was charged with aiding the enemy, the press reported on two earlier incidents in which <mask> had been involved with the courts. In November 1993, he was charged with felony aggravated child abuse for his verbal and physical abuse of his 11-year-old stepson. From court records, "[The boy] was punched. He was thrown across the room for eating food without asking." <mask> was also charged with resisting an officer with violence, another felony. Both charges were dropped when he agreed to give up custody.In 2003, <mask> was charged with two misdemeanor offenses during a dispute with a contractor. The contractor, who was born in Lebanon, accused <mask> of saying: "You better get out of here or I'll blow your head off," and said that <mask> "accused him of working for al-Qaeda". <mask> was convicted on one count of threatening bodily harm, but upon appeal the charges were dismissed after <mask>
<mask> served as commandant of Camp Cropper from October 2005 to the end of October 2006, when he transferred to Camp Victory and served as a senior

masks:
William H
. Steele
Steele
William H
. Steele
Steele
Steele
Steele
Steele
Steele
Steele
Steele
Steele
Steeleper
Steele


texts: patrol officer with 89th Military Police Brigade. Camp Cropper is known to have held former Baath Party members, Al-Qaeda operatives, and members of the Iraqi insurgency. On April 26, 2007, it was announced that <mask> had been held in military detention since March, and that he had been charged with aiding the enemy and other violations of military law. After that he was held in pretrial confinement in Kuwait.Testimony at his Article 32 hearing indicated that the charge of aiding the enemy was based on the allegation that <mask> had allowed three juvenile detainees to use his cellphone to call their parents in violation of the prison's requirement that all prisoner phone calls be monitored. (<mask> had been previously reprimanded by Brigadier General Kevin McBride, commander of the 43rd MP Brigade, for "intimidating tower guards with a service pistol." He was later awarded the Bronze Star Medal by General McBride at the end of his tour of duty.) On June 10, 2007, the military dropped charges of fraternization with the daughter of a prisoner, and failure to oversee expenditure of government funds—allegedly used to purchase of hair dye and Cuban cigars for <mask> when he was held at Camp Cropper. At that time, Major General James E. Simmons referred the remaining charges for trial by general court-martial. <mask> was ordered confined pending trial. At a pre-trial hearing held at Camp Liberty, Iraq, on October 7, <mask> pleaded guilty to two charges relating to improper storage of classified materials and to one of possession of pornographic videos.<mask>'s trial before a military judge on charges of "aiding the enemy, possessing classified information, disobeying orders and conduct unbecoming an officer" began in Baghdad on October 15. On October 19, 2007, a military judge found <mask> not guilty on the charge of aiding the enemy, but guilty of "unauthorized possession of classified documents, behavior unbecoming an officer for an inappropriate relationship with an interpreter and failing to obey an order". <mask> was sentenced to 2 years confinement (of a possible maximum 6-year sentence for the

masks:
Steele
Steele
Steele
Saddam Hussein
Steele
Steele
Steele
Steele
Steele