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This volume offers essays on various aspects of Ruskin's work, including studies of his time at Oxford and the formation of the Sir Edward Tyas Cook.
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His views were, not surprisingly, shared in the wider field of art criticism. Indeed, by the later nineteenth century the spiritual nature and moral imperative of art—and, more specifically, of Anglo-Saxon sculpture—were being expressed in the Schools of Art that were being founded, not only in Liverpool, but in all the major industrial cities of Britain and Ireland.

This incident reveals that, for those who regarded themselves as archaeologists, the object of discussion was a work of art and inextricable from contemplation of the role of art and education in nineteenth-century society. In this case, such links were likely prompted by the fact that one of the newly founded schools of art that so preoccupied them stood in plain sight across the road from the Anglo-Saxon column fig.

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Undoubtedly, the manner in which their conversation moved seamlessly from the reality of the stone monument to the subject of art and education was due to the very real association of that material with the metropolitan schools. For, it was within these Schools that Anglo-Saxon carvings were presented, in the form of plaster casts, to students as well as the public, among examples of works of art from the past intended to inspire contemporary artists.

As such, it was regarded very much as part of the wider discussions of the moral imperatives of art, education, and class. In a letter to her father as late as , the sculptor Dora Collingwood, following a day in the British Museum, was to complain that. The stones are all so badly placed that it is difficult to make anything out at all. This experience clearly highlighted the stark contrast between such practices and the methods of recording she had witnessed with her father, whose notebooks record the conditions and settings of the early sculpture, as well as their measurements, and his observations of their carved decoration—all accompanied by his initial sketches of all faces of each piece of sculpture.

Despite the difficulties she clearly encountered, Dora nevertheless managed to produce a series of line drawings and some brief notes of the name stones from Hartlepool, in County Durham , but her experience indicates that while the schools of art facilitated observation and learning from early vernacular sculpture, the national museum did not. The question therefore arises as to what it was that inspired Collingwood in his more systematic and seriational approach, in his concern with dating the early sculpture through its formal features.

More fundamental, however, is the question of how his interest in the sculpture itself emerged, because, like Ruskin, when Collingwood discusses the early medieval in his art criticism, he focuses on the arts of the metal-worker and manuscript painter—not the stone carver. Certainly, it is only when Collingwood looked at the material collectively that he began to invoke what were, at the time, archaeological methods of analysis, and to publish almost exclusively in archaeological journals.

To facilitate this exercise, each face of every monument was illustrated by line drawings—in a manner that had been used to illustrate early sculpture in archaeological lectures since at least the s. His drawing of one of the panels of the Bewcastle cross made in which he records were admired by Ruskin [73] took the form of a pen-and-ink line and wash, resulting in a relatively impressionistic representation of the carved details, which gently fade out at the edges where they are contained by a neat frame—the whole being presented centrally on the page of the book fig.

This technique is in marked contrast to the drawings contributed to the publication by Calverley himself, which, although set in a minimal landscape the ground at the foot of the monumental cross at Gosforth, Cumbria, for instance, is included , illustrate the sculptures and their details as pen-and-ink line drawings, arranged unframed on the page fig. Such accuracy was achieved not through rubbings of the carvings, but through a painstaking process of taking measurements, making copious notes about the details of the carvings he observed first-hand and sketched, and supplemented with photographs.

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From tracings of the photographs, and from the sketches of the details and the entire monuments made during his initial examination of the sculptures usually pen-and-ink line drawings, but sometimes involving ink washes , Collingwood worked up finished line drawings of all the extant faces of a sculpture. His notebooks and numerous galley proofs reveal that the details of these drawings were constantly being rectified as part of the publication process.

His illustration of the Bewcastle cross, for instance, is an impressionistic line and wash, with only one face of the monument presented, but his illustration of the cross at Irton in the same book fig. But, upon encountering the new methodologies being developed in the field of archaeology, his subsequent work on early medieval stone monuments represented, within his own body of writings, a remarkable discontinuity from his earlier methods.

It was a far from static process. Collingood , 2 vols.

Collingwood Orpington: George Allen, Virtue, ; W. Collingwood and J. Collingwood, The Bondwoman London: Arnold, Wilson, 2 vols. Catherine E.


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Brockhaus, ; English translation, C. Lang, ed. Collingwood under the title Verona and Other Lectures , 77—; for information on the publishing history and full text, see E. Cook and A.

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Wedderburn, eds. Butler and P. Westwood, Palaeographia Sacra Pictoria , no. Dodwell and Peter Clemoes, eds. Cook and Wedderburn, Works of John Ruskin , vol. See also Elizabeth Boyle, and Paul Russell, eds. Stationery Office, Baker and B.

PhD diss. Matthew H. A strong imperialist, Cook was unable to remain under these circumstances, and was replaced by R. After leaving the Daily News , Cook worked as a leader writer for the Daily Chronicle from until His main achievement during those years, however, was to edit the writings of John Ruskin , on which he worked with Alexander Wedderburn. Published in thirty-nine volumes between and , this remains the definitive collection of Ruskin's writings. Upon concluding this task, Cook moved on to writing other works, producing biographies of Florence Nightingale and John Delane as well as handbooks to the National Gallery and the Tate Gallery, and to the Greek and Roman antiquities in the British Museum.

At the start of the World War I , Cook lent his abilities to the war effort. He quickly produced a short pamphlet, How Britain Strove for Peace , which put the animus for starting the conflict onto Germany. Created to direct press coverage of the war, its function evolved with the conflict, yet Cook was greatly respected by his contemporaries for performing a difficult job with wisdom and devotion. After the war he produced two volumes of Literary Reflections , and an account of the Press Bureau that was published after his death.

His books included: [1]. From Wikipedia, the free encyclopedia. Brighton , England. South Stoke, Oxfordshire , England.

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