Enrico Cicalò The Elements of Drawing by John Ruskin. Drawing between Art
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6 / 2020
Readings/Rereadings
The Elements of Drawing by John Ruskin. Drawing between Art,
Science, Design and Education in XIX century in England
Enrico Cicalò
Written in 1857 [1] and translated in
Italy for the first time in 1898 [2], The
Elements of Drawing is the first explicit-
ly didactic work written by John Ruskin
[1819-1900], as well as the one that
gave him greater fame as an expert in
drawing in the English cultural scene
of the mid-XIX century [Levi, Tucker
1997, p. 175]. Since its Preface, the
work is defined as “a manual of draw-
ing” addressed to a well defined and
at the same time unidentified public:
adults, or in any case students aged
at least 12-14 years, self-taught dilet-
tantes who want to learn the rudi-
ments of art, without the supervision
of a master [Ruskin 1857, pp. V-VII]. In-
deed, the manual is mainly structured
in three letters addressed generically
to the reader and two additional ap-
pendices to guide the autonomous
learning; the XIX century equivalent,
we might hazard, of what today could
be a course articulated in three tuto-
rials, conceived as a support to “dis-
tance learning” and containing the in-
dication of numerous links to in-depth
resources and supplementary didactic
instructions that the students can find
and consult autonomously.
The manual is part of the wide and
important production of didactics
books coming from the dilettante tra- Fig. 1. Cover of the Italian edition currently on sale [Ruskin 2009] and frontispiece of the first edition
dition, which was established between [Ruskin 1957].
https://doi.org/10.26375/disegno.6.2020.20 205 ISSN 2533-2899
6 / 2020
the end of the XVIII century and the century are thus outlined: the first cated to the dissemination of ideas and
beginning of the XIX century and linked to the tradition of the past general principles rather than practical
which in those years made the for- and which saw the Royal Academy methods, such as Modern Painters [4], of
tune of drawing and of the masters of Arts as the most representative which The Elements of Drawing is a syn-
who taught it. In fact, by the end of institution; the second linked to the thetic re-proposal conceived in relation
the eighteenth century the practice new demands of industrial production to his teaching experience at Working
of drawing had become widely estab- represented by the School of Design Men’s College [Harrison 2013, p. 68]. In
lished in the wealthy classes as polite and the Department of Science and turn this last manual will then serve as
recreation, contributing to the spread Art; finally, the third, non-institutional, the basis for other didactic works such
of manuals and drawing lessons, es- which is identified in guide of Ruskin as The Laws of Fèsole [Ruskin 1904a, p.
pecially aimed at young students. This and is focused on overcoming a utili- IX], written between 1877 and 1879 on
was the dilettante context in which tarian conception of drawing towards the occasion of his teaching experience
both Ruskin’s training in the field of a recognition of its role as a means at the University of Oxford [1869-
drawing and his activity as a teacher to refine vision, to acquire and com- 1884] as “Slade Professor of Art”.
began [Contessi 2000, p. 168]. municate knowledge as well as read- The years at the Working Men’s Col-
In Ruskin’s vision, dilettantism does ing, writing and counting. According lege are intense from the point of
not have the negative connotation at- to this approach, drawing becomes “a view of educational reflection and will
tributed by contemporary culture, but means of obtaining and communicat- stimulate the writing of other books
rather recalls its etymological roots ing knowledge. He who can accurately such as The Elements of Perspective
by referring to the word diletto (from represent the form of an object, and (1859) and the annual Academy Notes
the Latin dēlectāre, to delight, to give match its colour, has unquestionably (1855-1859). The Elements of Draw-
pleasure). In fact, according to this in- a power of notation and description ing is a mature work by Ruskin, who
terpretation, a dilettante is who prac- greater in most instances than that of at the time of the publication was
tices an activity only for pleasure, free worlds; and this science of notation thirty-eight years old and has already
from the constraints and obligations ought to be simply regarded as that completed important works that will
that characterize the activity of pro- which is concerned with the record of influence the contents and approach
fessionals [Levi, Tucker 1997, pp. 181- form, just as arithmetic is concerned of the manual, such as the first four
183]. Although contemporary culture with the record of number” [Ruskin volumes of Modern Painters, The Seven
and language diminish the value of the 1905, p. 143]. This third approach to Lamps of Architecture (1848) and The
dilettante’s work compared to that of art education will be the one that will Stone of Venice (1852).
the professional, in Ruskin’s view the have the greatest influence on the di- The work, considered by several au-
values appear to be inverted. The dilet- dactic approach of some important thors inspired by Leonardo da Vinci’s
tante works for pleasure, i.e. moved by artistic movements of the twentieth Treatise on Painting (Nicolello 1898;
a virtuous and free pleasure towards century, such as the School of Art and Cook 1968), is presented as a pro-
knowledge and contemplation, thus dif- Craft and the Impressionism [3], and gressive and gradual method, simi-
ferently both from the search for com- more generally on the history of art lar to what he had learned from his
placency typical of amateur practices, and drawing education, also through teacher James Duffield Harding in
and from the mechanicism of those the works of Ruskin’s students who 1841 [Levi, Tucker 1997, pp. 60-64],
professional practices that characterize continued and deepened his ideas divided into three parts –On First
the emerging design schools that are [Read 1943, p. 115]. Practice, Sketching from Nature and On
marking the distinction between art Colour and Composition– structured
and applied art, between intellectual in an epistolary literary form, which
work and manual work. The work makes explicit the author’s aim of
The three approaches to education in writing a manual not specifically to
the field of drawing that would then Several of Ruskin’s earlier works had support the lessons of his courses in
characterize the English educational already had a strong educational con- the school but rather in function of
scene of the second half of the XIX notation but had been mainly dedi- the self-learning of other students.
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In On First Practice the proposed edu- this second letter there is strong ref- Drawing was considered nearly as
cational program is of grammatical erence to Turner because “no other an its official text. The foundation
kind. Aimed at progressively learning artist ever yet drew the sky: even Ti- of this school was inspired by the
the elements of the language of draw- tian’s clouds, and Tintoret’s, are con- same utopian socialist ideals with a
ing, it starts from the experimentation ventional” [Ruskin 1857, p. 153] and Christian background that character-
of tones and tints and then gradu- “Absolutely right, in difficult river per- ized Ruskin’s entire critical and politi-
ally moves on to lines and contours, spectives seen from heights […] no cal work and was par t of a broader
shading, alphabets, two-dimensional one but Turner ever has been” [Ruskin policy of initiatives in suppor t of the
shapes, colour and chromatic scales, 1857, p. 180]. lower classes. In this historical mo-
three-dimensional volumes, uniform The third letter is On Colour and ment –following popular protests,
chromatic campiture, and chromatic Composition. In The Elements of Draw- social division and public health
tonal values. Therefore, the themes of ing, composition, “putting several things, problems linked to epidemics– adult
the exercises range from the simplest so as to make one thing out of them” education is actually considered a
to the most complex; as well as the [Ruskin 1857, p. 244], is considered primary need as much as that for
drawing tools indicated –from pen to “the type, in the arts of mankind, of the children, since education is seen as a
pencil and finally to watercolour– and Providential government of the world” possible means of concord between
the recommended subjects – from [Ruskin 1857, p. 245] and becomes a the classes and an instrument to
natural subjects to the works of artists specific field of investigation. According contain extreme radicalism.
such as Joseph Mallord William Turner, to Ruskin, however, composition cannot The College aims to offer the poor-
Albrecht Dürer and Rembrandt, in be taught. However, although the inven- est classes a liberal and high educa-
coherence and continuity with the tion cannot follow rules, seven laws are tion, aimed at training the man and
suggestions given to the students of illustrated for the arrangement of ob- the citizen rather than the worker ;
the Working Men’s College. Among jects (figs. 4, 5): the law of principality, therefore, an education not strictly
the artists to be observed, studied the law of repetition, the law of con- professional and aimed at improving
and replicated, Ruskin obviously gives tinuity, the law of curvature, the law of technical skills to increase earnings.
particular emphasis to Turner, whose radiation, the law of contrast, the law of Among the subjects taught in adult
work he had already focused on as a interchange, the law of consistency and, schools there are Latin, Greek, litera-
critic in Modern Painters, recommend- finally, the law of harmony. ture, foreign languages, logic, diction
ing in particular the edition illustrated The last editions of the volume closes and drawing; the latter considered to
by Turner of the book of poems Italy with two Appendixes, the first –added be an important discipline for the eye
by Samuel Rogers (1763-1855), a after the first edition– dedicated to and the head as well as for the hand,
work that was fundamental in Ruskin’s the Illustrative Notes, including brief in addition to being the link between
path since it was given to him as a child notes on the contents and the second the humanities and science [Maurice
by his father’s business partner [Ruskin dedicated to the Things to be studied, 1849, pp. 17-18].
1983, p. 26]. divided into works to be viewed in the Among the inspiring ideas of the
In the letter titled Sketching from Na- galleries and works published and re- College was the willingness to ap-
ture, Ruskin invites the reader to move produced to be procured, in addition proach disciplines of seemingly only
from the drawing of static subjects to to those of Turner, Rembrandt and practical use from a broader and in-
that of dynamic ones that make more Dürer already emphatically recom- tegrated perspective, which would
difficult that strictly imitative drawing mended within the volume. allow workers to “feel that they
he always criticized. In particular, the are men and not machines” [Levi,
subjects examined are the natural ele- Tucker 1997, p. 130], in contrast to
ments such as water, sky and clouds, The context the process of dehumanisation of
while for the drawing of the land he work at that time occurring in the
recomend the reader to refer to what Conceived during his teaching ex- industrialising England. It was pre-
has already been discussed in Modern perience at the Working Men’s Col- cisely these inspiring principles that
Painters [Ruskin 2009, p. 150]. Also in lege (1855-1859), The Elements of made Ruskin see the school project
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as an oppor tunity for experimenta- However, a highly utopian approach
tion, and convinced him to enter the that could only be disorienting for
school as drawing teacher [Haslam those who had to accomplish hum-
1988, p. 69]. His arrival marked a ble graphic tasks in their work [Levi,
split from the more utilitarian and Tucker 1997]. In addition to discour-
professionalizing didactic approach aging some pupils, this incompatibility
that was spreading in those years in between method and public ended
the emerging Schools of Design. up discouraging Ruskin himself, who
Indeed, Ruskin denounces and con- left school in 1858. After his depar-
trasts the traumatic separation be- ture the school abandoned and de- Fig. 2. J. Ruskin, Giving shape to the letters with
tween intellectual and manual work nied the method, the approach and hatching (Exercise 5), from: Ruskin 2009, p. 45.
that would lead, from his point of the principles argued by him. In later
view, to the impoverishment of both teaching experiences, Ruskin chose
and the fragmentation of society. In to differentiate the educational paths In Ruskin’s vision, drawing is the
this way Ruskin enters into a con- in relation to the students, adapting discipline par excellence, in fact
troversy with the suppor ters of the the method to their worlds and ex- he wrote: “teaching ar t, as I under-
distinction between ar t and applied pectations, although maintaining the stand it, means teaching everything”
ar t and of the methods proper to willingness to include all social ranks. [Ruskin 1907a, p. 86]. The lessons
the design schools, focused precisely Therefore, Ruskin recognized that he of his course at the Working Men’s
on the emphasis of the latter. Ar t had always taken for granted in eve- College included the presentation of
and applied ar t, drawing and design ryone that acute visual faculty which several kinds of works such as prints
were not separate fields from his was a natural gift in him. This aware- and engravings by ar tists of all times,
point of view [Levi, Tucker 1997, p. ness led him to renounce the repub- which became the star ting point to
115], because both representation lication in 1861 of The Elements of discuss the lives of painters and to in-
and invention had to be educated Drawing: the drawing manual he had troduce lessons with a more histori-
exclusively through the refinement written to suppor t and divulge this cal, cultural and theoretical approach,
of perceptive abilities [Ruskin 2009, method [Levi, Tucker 1997 p. 227]. such as those on the meaning of the
p. 17]. symbolic languages of heraldry and
Ruskin in The Stone of Venice writes: emblems, alphabet drawing (fig. 2)
“You can teach a man to draw a The method and miniatures.
straight line, and to cut one; to strike The manual does not provide reci-
a curved line and to carve it; and to The method proposed in the book pes or technical prescriptions as was
copy and carve any number of given is presented as totally different from common in the coeval manuals. In-
lines or forms, with admirable speed those generally adopted by the stead, it rejects the systematic rules
and perfect precision; and you find his masters of drawing [Ruskin 2009, on which are based visual prejudices
work perfect of its kind: but if you ask p. 16]. Ruskin claims that there are and graphic stereotypes that prevent
hit to think about any of those forms, no methods applicable to anything from seeing reality. Rather, he invites
to consider if he cannot find any bet- and there is no a recipe for draw- to the direct observation of natural
ter in his own head, he stops; his ex- ing [Ruskin 1904a, p. 97]. In fact, he data, considering a multiplicity of pos-
ecution becomes hesitating; he thinks. is convinced that “when once we sibilities for their representation; dif-
and ten to one he thinks wrong; ten see kneely enough, there is very lit- ferently from the univocity of method
to one he makes a mistake in the tle difficulty in drawing what we see” generally argued in the literature of
first touch he gives to his work as a [Ruskin 1857, p. XI] and that there- that time.
thinking being. But you have made a fore the excellence of the ar tist de- The manual contains exercises that
man of him for all that. He was only pends on the refinement of percep- have been experimented in the
a machine before, an animated tool” tion and that this must be the aim of Working Men’s College’s but adapted
[Ruskin 1904b, pp. 191-192]. the masters. to a teaching mode that today we
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will define as “distance education”. Despite these evident similarities, in
The volume recalls, for example, the the Introduction Ruskin wants to clar-
first lesson of the College’s drawing ify that even if the method proposed
courses, consisting in the drawing of in the manual is strongly inspired by
a sphere [Ruskin 1857, pp. XIII-XIV], the teaching experience in the Col-
materialised by a ball of chalk hung lege, it is to be considered different
from a string. This exercise obliged from the one adopted in his lessons
the students to confront themselves to the students of the school, who
not only with drawing from reality could benefit from the constant pres-
but above all with drawing of reality, ence of the teacher.
avoiding the use of line as a neces-
sary expedient to describe forms
and forcing them to observe, recog- The drawing concept
nize and represent shadows; a highly
programmatic exercise, considered at In the context of an England becom-
the time almost scandalous because ing aware of the new needs linked to
it immediately made the students economic and social development, two
Fig. 4. J. Ruskin, Schematic representation of a
face the naked three-dimensionality different positions can be distinguished columbine leaf, from: Ruskin 2009, p. 217.
of reality [Emslie 1904, p. 39]. In this in the debate on design education. The
way Ruskin stimulates the return to first refers to a concept of drawing
“the innocence of the eye” (Ruskin aimed at imitation, through the educa- which Ruskin will instead try to defend
1857, p. 6) understood not as ingenu- tion of the ability to draw skillfully so [Cook 1968, p. 390].
ous perception, but rather as an in- as to emulate the works of artists, the Therefore, The Elements of Drawing is
dispensable means for understanding second is linked to a drawing aimed at thought as a didactic method to be
the truth and helping the student to production, through the education of opposed to the official approach wide-
overcome those visual prejudices that the mastery of geometric shapes that spread in government schools [Haslam
often interfere with the perception of can be used to draw quickly and eco- 2000] in which “The kind of drawing
reality [Haslam 1988, p. 75]. The next nomically for manufacturing industries. that is taught, or supposed to be taught,
steps of the school’s educational path Both these conceptions are over- […] is not drawing at all. It is only the
included the drawing of casts of natu- come by Ruskin who in the first one performance of a few dexterous (not
ral objects, again to emphasize the sees only the possibility of “emu- always even that) evolutions on paper
chiaroscuro effect, and then move on late (at considerable distances) the with a black-lead pencil; profitless alike
to real objects of increasing size and slighter work of our second-rate art- to performer and beholder, unless a
complexity (fig. 3). This path was then ists” [Ruskin 1857, p. IX], in the sec- matter of vanity” [Ruskin 1857, pp. 2-3].
followed also in the manual, where ond the confusion of “art as applied According to Ruskin, the reasons
the subjects of the exercises are pro- to manufacture, with manufacture it- why one should learn to draw are
gressively more and more complex. self ” [Ruskin 1857, p. IX]. In particular, not so clearly definable, as argued by
on this second point Ruskin highlights the utilitarian approaches of design
the distinction between drawing and schools, but are so numerous and im-
design, between the skills needed to portant that they cannot be enunci-
draw an artifact and the skills useful ated in a few words [Ruskin 2009, p.
for the reproduction of that artifact 16]. For this reason, the manual aims
on an industrial scale. In fact, in those at a very general objective, that is to
years the debate was focusing on the teach how to draw in order to repre-
practical aims and mechanical modali- sent in a clear and useful way images
Fig. 3. J. Ruskin, How to draw a stone (Exercise 8),
ties of drawing rather than on its dig- of things that cannot be described in
from: Ruskin 2009, p. 57. nity on the mental and cognitive level, words, both to help memory and to
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are going. Your dunce thinks they are
standing still, and draws them all fixed;
your wise man sees the change or
changing in them, and draws them so”
[Ruskin 1857, p. 121].
Drawing and truth
According to Ruskin, drawing is a
method for questioning reality and en-
gaging in dialogue with the elements
of nature in search of truth: “Try al-
ways, whenever you look at a form,
to see the lines in it which have had
power over its past fate and will have
power over its futurity, Those are its
awful lines; see that you seize on those,
whatever else you miss” [Ruskin 1857,
Fig. 5. J. Ruskin, The law of curvature illustrated by the Koblenz bridge by Turner, from: Ruskin 2009, p. 203. p. 121]. At the basis of the graphic
representation there is the contem-
plation aimed at the description and
give others a precise idea of them tain facts, & those I put down in the understanding of natural phenomena,
[Ruskin 1857, pp. 1-2]. Drawing is for rudest & clearest way as many as so Ruskin writes about the draw-
Ruskin a tool for precise documen- possible” [Shapiro 1972, p. 189]. ing of clouds that “clouds are not as
tation and research, rather than a solid as flour-sacks; but, on the other
means of aesthetic gratification. Drawing and morality hand, they are neither spongy nor flat.
This conception of drawing was ex- Originally destined to a religious ca- They are definite and very beautiful
perimented and deepened by him reer by maternal will [Ruskin 1983, p. forms of sculptured mist; sculptured
during the years of his journey in 20], Ruskin chose to turn his gaze to is a perfectly accurate word; they are
Italy, in which drawing takes the form art and resolve his inner conflict giv- not more drifted into form than they
of graphic notes and memoranda ing art an almost religious mission. For are carved into form, the warm air
that become for him a fundamental this reason, in The Elements of Draw- around them cutting them into shape
instrument of research and investi- ing the education to drawing assumes by absorbing the visible vapour be-
gation that constantly accompanies the role of moral formation of the yond certain limits; hence their angu-
his theoretical-critical work. The bad individual, consistently with the ten- lar and fantastic outlines, as different
condition of preservation of the ar t- dencies of the XIX century Victorian from a swollen, spherical, or globular
works and monuments cause him in- culture. Lightness, firmness and con- formation, on the one hand, as from
dignation that leads to the anxiety to trol of the hand, sharpness and refine- that of flat films or shapeless mists on
detect, record and study as long as ment of the eye become expedients the other” [Ruskin 1857, p. 190].
it was still possible the architectures to educate the individual to patience,
in an advanced state of degradation. constancy, determination and fatigue. Drawing and nature
This need for study and preserva- Ruskin gives moral meaning to all his “Watch nature constantly – and let
tion stimulates even their first exact lessons, as when he invites to the the spirit of your contemplation be a
measurements of the architecture. transition from static to dynamic sub- perpetual ‘Why’” [Ruskin 1909, p. 21].
So, his drawings assume the role jects: “Now remember, nothing distin- Therefore, the observation of natural
of mere memoranda which Ruskin guishes great men from inferior men phenomena and the understanding
describes as “ugly, for I consider my more than their always, whether in of the laws from which they derive
sketch only as a written note of cer- life or in art, knowing the way things is fundamental because “most if the
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artists learn their rules mechanically, will see through the water best, and XIX century in comparison with that
and never trouble themselves about vice versa. Then the real shadow of the of drawing as design and drawing as
the reason of them” [Ruskin 1909, stone crosses both these images, and figuration, his vision and thought are
pp. 20-21]. Those are the reasons that where that shadow falls, it makes the still relevant in several ways. Having
Ruskin incessantly investigates in draw- water more reflective, and where the recognized to drawing the dignity of
ing when he observes that “When you sunshine fails, you will see more of the a science useful to the general for-
are drawing shallow or muddy water, surface of the water, and of any dust or mation of the individual rather than
you will see shadows on the bottom, motes that may be floating on it: but only to the professional and special-
or on the surface, continually modi- whether you are to see, at the same ized one, having given to drawing the
fying the reflections; and in a clear spot, most of the bottom of the wa- value of language for the notation of
mountain stream, the most wonderful ter, or of the reflection of the objects ideas and concepts that cannot be
complications of effect resulting from above, depends on the position of the described only with words, having
the shadows and reflections of the eye” [Ruskin 1857, pp.182-183]. There- attributed to the discipline of draw-
stones in it, mingling with the aspect fore, drawing proves to be not only a ing the role of connection between
of the stones themselves seen through manual skill, but above all intellectual the humanistic and scientific spheres,
the water. Do not be frightened at the and cognitive, as well as visual. having highlighted the importance of
complexity; but, on the other hand, do drawing in the process of production
not hope to render it hastily. Look at of ideas but distinguishing it in terms
it well, making out everything that you Conclusions of skills and training from the proc-
see, and distinguishing each compo- ess of production of objects, having
nent part of the effect. There will be, Recently, the celebrations for the understood the potential of drawing
first, the stones seen through the water, bicentenary of Ruskin’s birth were as a learning method applicable to
distorted always by refraction, so that concluded. They provided an oppor- a wide variety of disciplines, are just
if the general structure of the stone tunity to re-read his work from dif- some of the most current aspects that
shows straight parallel lines above the ferent points of view and different emerge from the figure of Ruskin, of
water, you may be sure they will be disciplinary perspectives, but they which The Elements of Drawing repre-
bent where they enter it; then the re- only marginally highlighted the strong sents an emblematic work in relation
flection of the part of the stone above connections between drawing and to the historical and cultural context
the water crosses and interferes with John Ruskin’s theoretical, didactic and in which it was written and in relation
the part that is seen through it, so that artistic work. However, despite the to the author’s development of critical
you can hardly tell which is which; Mid fact that his conception of drawing reflection on the role of drawing in
wherever the reflection is darkest, you as a science did not succeed in the work, school and society.
Notes
[1] The first edition published in 1857 was en- Turin, with notes and preface by the translator fided to journalist Wynford Dewhrst that ninety
titled The Elements of Drawings. In Three Letters E. Nicolello. percent of the theory of Impressionist painting
to Beginners and was published by Smith, Elder is contained in Ruskin’s handbook.
& Co., London. [3] In the introduction to The Elements of Draw-
ing, published by Dover Publication in 1971, the [4] The work is composed of 6 volumes writ-
[2] The first edition translated into Italian in editor Lawrence Campbell writes that in a 1911 ten between 1843 and 1860, whose first four
1898 was entitled Gli Elementi del Disegno e article in Contemporary Review 99 (March 1911) were written before The Elements of Drawing,
della Pittura and was published by Fratelli Bocca, entitled “What is Impressionism?” Monet con- between 1854 and 1857.
Author
Enrico Cicalò, Department of Architecture, Design and Urban Planning, University of Sassari, enrico.cicalo@uniss.it
2116 / 2020
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