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- W2289238154 abstract "W.G. Collingwood’s portrait of Ruskin in his Study at Brantwood (1882, p. ii) is at once a thoroughly detailed painting of Ruskin’s writing room, a study in greens and browns, and a painterly construction of Victorian literary manliness. The setting is, as Collingwood noted, some time before breakfast, but Ruskin sits already well into the morning’s labour, the signs of his literary energy lying in the wastepaper basket behind him, and carefully arranged on the floor beside it. On the left, the second drawer of the chest is open, containing business papers — this is where Ruskin filed them — of the Guild of St George.1 Ruskin’s writing on this early winter morning concerned his public work with social reform. Although he sits solitarily, with a favourite tortoise-shell and white cat for his only audience, he is engaged, through the Guild, with the wider world. The globe in the corner hints the furthest extent of his grasp. Ruskin, whose white-bearded presence is repeated by the white-capped Old Man of Coniston visible through the window, is a figure of rocky strength. His sitting position is almost a running one. He is not lost in dreamy thought, nor racked by the pains of authorship, but writing firmly and confidently on matters of national policy. ‘I’m working vigorously’2 Collingwood told his fiancée as he painted the picture on 17 February 1882, and he was portraying Ruskin in the same way.KeywordsSexual DesireBusiness PaperSexual PoliticsSexual PotencyBeautiful WomanThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves." @default.
- W2289238154 created "2016-06-24" @default.
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- W2289238154 date "2002-01-01" @default.
- W2289238154 modified "2023-09-25" @default.
- W2289238154 title "Manliness and the History of Ruskin in Love: Writing Ruskin’s Masculinity from W.G. Collingwood to Kate Millett" @default.
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- W2289238154 doi "https://doi.org/10.1057/9780230522480_2" @default.
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