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Título: Modern Painters.
Editorial: London: Smith, Elder & Co, 1846–60
Año de publicación: 1846
Edición: 1st Edition
5 volumes, quarto (245 x 165 mm). Finely bound by Ramage in red full morocco, spine gilt in compartments with gilt titles direct, triple fillet gilt panel to boards, triple rules to boards, turn-ins gilt, marbled endpapers, all edges gilt. Light sporadic foxing to contents, the occasional small ink mark. An excellent set in strikingly bright bindings. Steel-engraved frontispieces to Volumes 3, 4 and 5, 84 steel-engraved plates, including one with hand colouring, many by the author, 8 separate plates of wood engravings and others in the text. Presentation set, with autograph slips pasted onto the half-title or title page of three volumes, the one in Volume 5 being in the author's hand, the other two in a secretarial hand. Volume 1 is the third edition revised, the first edition to include Ruskin's open criticism of Turner's contemporaries, all others are first editions. When the first volume was originally published, in 1843, Ruskin "stopped short of criticising Turner's contemporaries, who worked in the convention of the picturesque. These were Ruskin's teachers, and his father's friends. It was not until the third edition (.) that blame was substituted for praise" (ODNB). All slips are addressed to a Richard Gray, a name which appears in Timothy Hilton's biography for a Scottish neighbour of the teenage Ruskin in Herne Hill. With a bibliographical note loosely inserted. Ruskins "earliest major work was Modern Painters, of which the first volume, containing the celebrated defence of Turner, appeared anonymously in 1843. Modern Painters was to occupy Ruskin for another seventeen years, spanning the whole period of his writing on art. The second volume, a survey of Italian art which demands special notice as one of the direct causes of the foundation of the Pre-Raphaelite Brotherhood, appeared in 1846. In 1851 Ruskin put his name to Modern Painters. The fourth volume (1856) was devoted to a favourite Ruskinian subject, mountain scenery and its formation. Both here and in the last volume the illustrations are beautifully engraved - Ruskin took an infinity of pains with the quality of the workmanship - often after his own exquisite drawings, which he thought of as merely diagrams but which are now valued as some of the most original watercolours ever executed. The fifth volume appeared in 1860, eliciting from Dante Gabriel Rossetti the gibe that its subjects would be Old Masters before Ruskin had finished. But Ruskin had finished." (PMM). Timothy Hilton, John Ruskin, p. 14., Printing and the Mind of Man 315 (first edition). N° de ref. de la librería 103691
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