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  1. John Ruskin era hijo de un rico comerciante de vinos, cosa que influyó mucho para que él pudiese viajar a distintos lugares de Europa durante su juventud. Se crio en el sur de Londres y fue uno de los promotores de la constitución de la compañía Ruskin, Telford y Domecq .

  2. John Ruskin His Homes And Haunts|James D, B. L. M. C. 1800 Workshop Manual: Austin, Morris And Wolseley 18/85 ([Intereurope Workshop Manual)|ROY NEWTON, The Anatomy Of Adolescence: Young People's Social Attitudes In Britain|Barrie Gunter, The Originality Of Madame Bovary (Romanticism And After In France)|A.

  3. John Ruskin: His Homes And Haunts (1911)|James David Symon, The Oxford-Duden Pictorial Spanish-English Dictionary|E.A. Lowe, OVER THE BACKYARD FENCE|Edward Blair, The Destruction Of Black Civilization: Great Issues Of A Race From 4500 B. C. To 2000 A. D.|Chancellor Williams

  4. en.wikipedia.org › wiki › Effie_GrayEffie Gray - Wikipedia

    John Ruskin wrote the fantasy novel The King of the Golden River for Gray in 1841, when she was 12 and he was 21. Gray's family knew Ruskin's father and encouraged a match between the two when she had matured. She ended up marrying Ruskin, after an initially unsteady courtship, when she was 19 years old on 10 April 1848.

  5. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the Ruskin marriage and Effie's subsequent marriage to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work and they worked in concert to secure commissions and expand their social and intellectual circles.

  6. Entrambi questi temi affascinarono il critico John Ruskin, strenuo sostenitore dei preraffaelliti e della necessità di un'arte che affrontasse, tra gli altri, proprio i più pressanti temi sociali. Testimonianza dell'amicizia tra Ruskin e Millais è il dipinto L'ordine di rilascio (titolo originale: The Order of Release ), per cui la moglie di Ruskin, Effie Gray , ha posato come modella.

  7. El interés para reproducir con fidelidad los detalles de la vegetación venía de los pintores flamencos del siglo XV, pero también respondía a los principios de la hermandad prerrafaelita y del teórico John Ruskin. Tanto el color de las hojas del otoño como el color gris del agua, que refleja las nubes de tormenta, siguen estos principios.