Modern Painters. Volumes I-II, III, IV & V.

Red half calf, marbled boards. Gilt titles on the spine.

Modern Painters (1843–1860) is a five-volume work by the eminent Victorian art critic, John Ruskin, begun when he was 24 years old based on material collected in Switzerland in 1842. Ruskin argues that recent painters emerging from the tradition of the picturesque are superior in the art of landscape to the old masters. The book was primarily written as a defence of the later work of J. M. W. Turner. Ruskin used the book to argue that art should devote itself to the accurate documentation of nature. In Ruskin's view, Turner had developed from early detailed documentation of nature to a later more profound insight into natural forces and atmospheric effects. In this way, Modern Painters reflects "Landscape and Portrait-Painting" (1829) in The Yankee by American art critic John Neal by distinguishing between "things seen by the artist" and "things as they are". Ruskin added later volumes in subsequent years. Volume two (1846) placed emphasis on symbolism in art, expressed through nature. The second volume was influential on the early development of the Pre-Raphaelite Brotherhood. He produced three more volumes, with the fifth and final volume appearing in 1860. The fifth volume marked the end of the formational and important part of Ruskin's life in which his father had a great influence. John Ruskin (8 February 1819 – 20 January 1900) was an English writer, philosopher and art critic of the Victorian era. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and political economy. Ruskin's writing styles and literary forms were equally varied. He wrote essays and treatises, poetry and lectures, travel guides and manuals, letters and even a fairy tale. He also made detailed sketches and paintings of rocks, plants, birds, landscapes, architectural structures and ornamentation. The elaborate style that characterised his earliest writing on art gave way in time to plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society. Ruskin was hugely influential in the latter half of the 19th century and up to the First World War. After a period of relative decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability and craft. Ruskin first came to widespread attention with the first volume of Modern Painters (1843), an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal role of the artist is "truth to nature". From the 1850s, he championed the Pre-Raphaelites, who were influenced by his ideas. His work increasingly focused on social and political issues. Unto This Last (1860, 1862) marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera (1871–1884). In the course of this complex and deeply personal work, he developed the principles underlying his ideal society. As a result, he founded the Guild of St George, an organisation that endures today. The Guild of St George is a charitable Education Trust, based in England but with a worldwide membership, which tries to uphold the values and put into practice the ideas of its founder, John Ruskin (1819–1900). In 2001, the Guild's collection moved to the Ruskin Gallery in Sheffield's new Millennium Galleries. In 2011, the gallery was re-named the Ruskin Collection. The Guild strives to maintain Ruskin's principles and achieve his aims in the twenty-first century. It is funding a nine-year cycle of Triennial Exhibitions there. The Guild still manages and lets its properties at Westmill in line with Ruskin's notions of care and justice (charging fair rents and diligently maintaining the properties). One hundred acres of ancient woodland and two smallholdings near Bewdley are sympathetically cultivated. A rebuilt barn, called the "Ruskin Studio", acts as a base for the Wyre Community Land Trust, which engages with a wide range of local projects, promoting rural crafts and skills, hosting events, and receiving educational visits. The Guild funded the national Campaign for Drawing and is still associated with it; arts and crafts and rural economy are fostered; scholarships and awards are sometimes granted; and symposia are held to discuss issues of contemporary concern and debate. The Guild is run by a Board of Directors, a secretary, and a Master who meet several times a year (since November 2009, the Master is Clive Wilmer). Every autumn, Companions attend an AGM, which hosts the Ruskin Lecture which is usually published, like its own journal, The Companion, by the Guild itself.