RUSKIN AT OXFORD
The city of Oxford played a large role in Ruskin’s life. In 1837 he began his studies at Christ
Church college, which was founded in the 16th century by Cardinal Wolsey. Christ Church is one of the highlights of Oxford; it boasts the largest quadrangle in the city, known as Tom Quad, and its cathedral spire contributes to the city’s breathtaking skyline. Despite his precocious success, Ruskin did not thrive at Oxford, su !ering from illness and taking absences of leave to recuperate. It was a "er graduating, in 1843, that he caught the a#ention of the art and literary worlds when he wrote Modern Painters, a text that would eventually develop into $ve volumes over the next 17 years. It was a defence of artist JMW Turner, whose work Ruskin believed to be true to nature as, he argued, all art should be. Imbued with Ruskin’s intellectual blend of art, science and politics,
Modern Painters introduced a new and exciting approach
to art criticism that earned Ruskin respect from his peers.
There are myriad reasons to visit Oxford’s Ashmolean
Museum, which holds a large collection of works by the Pre-Raphaelite Brotherhood. This group of 19th- century painters were both inspired and supported by Ruskin; they all shared a conviction that artists should pay close a!ention to the natural world. One rather bi!ersweet highlight of the Ashmolean collection is the portrait of Ruskin by Pre-Raphaelite leader John Evere! Millais. It was painted from 1853-54, a period during which Millais was falling in love with Ruskin’s wife, E"e Gray, who had previously sat for Millais. The marriage was soon over and Ruskin lost his taste for the portrait (ashmolean.org).
An art collector as well as a talented watercolourist, in 1861 Ruskin donated 48 Turner drawings to the Ashmolean. He also became Slade Professor of Fine Art at the university. To get to know the city, take one of the many themed walking tours (experienceoxfordshire.org).