Ruskin's special gift was the feeling for beauty, in nature as in art. It was in Beauty that his nature led him to seek reality, and his entirely religious life received from it an entirely aesthetic use. But this Beauty to which he thus happened to dedicate his life was not conceived by him as an object of enjoyment made to charm, but as a reality infinitely more important than life, for which he would have given his own life. From this, as you will see, the whole aesthetic system of Ruskin follows. First, you will understand that the years when he became acquainted with a new school of architecture or of painting were the principal landmarks in the development of his ethics. He would speak of the years when Gothic art presented itself to him with the same gravity, the same emotional nostalgia, the same serenity with which a Christian speaks of the day the truth was revealed to him.
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Marcel Proust, preface to La Bible d'Amiens (1904), Proust's translation of Ruskin's The Bible of Amiens; from Marcel Proust: On Reading Ruskin (Yale University Press, 1987, ISBN 0-300-04503-4), trans. Jean Autret and Philip J. Wolfe, pp. 33-34.John Ruskin
The truth of infinite value that he teaches is realism — the doctrine that all truth and beauty are to be attained by a humble and faithful study of nature, and not by substituting vague forms, bred by imagination on the mists of feeling, in place of definite, substantial reality. The thorough acceptance of this doctrine would remould our life; and he who teaches its application to any one department of human activity with such power as Mr Ruskin's, is a prophet for his generation.
John Ruskin
To those who do not know mathematics it is difficult to get across a real feeling as to the beauty, the deepest beauty, of nature ... If you want to learn about nature, to appreciate nature, it is necessary to understand the language that she speaks in.
Richard Feynman
Beauty is the main positive form of the aesthetic assimilation of reality, in which aesthetic ideal finds it direct expression...
Karl Marx
There can be no question of selecting in any direction, but of a penetrating the whole cosmic law of rhythms, forces and material that are the real world, from the ugliest to the most beautiful, everything that has character and expression, from the crudest and most brutal to the gentlest and most delicate; everything that speaks to us in its capacity as life. From this it follows that one must know all in order to be able to express all. It is the abolition of the aesthetic principle. We are not disillusioned because we have no illusions; we have never had any. What we have and what is our strength, is our joy in life; our interest in life, in all its amoral aspects. That is also the basis of our contemporary art. We do not even know the laws of aesthetics. That old idea of selection according to the beauty-principle Beautiful — Ugly, like to ethical Noble — Sinful, is dead for us, for whom the beautiful is also ugly and everything ugly is endowed with beauty. Behind the comedy and the tragedy we find only life's dramas uniting both; not in noble heroes and false villains, but people.
Asger Jorn
Darwin grasped the philosophical bleakness with his characteristic courage. He argued that hope and morality cannot, and should not, be passively read in the construction of nature. Aesthetic and moral truths, as human concepts, must be shaped in human terms, not “discovered” in nature. We must formulate these answers for ourselves and then approach nature as a partner who can answer other kinds of questions for us—questions about the factual state of the universe, not about the meaning of human life. If we grant nature the independence of her own domain—her answers unframed in human terms—then we can grasp her exquisite beauty in a free and humble way. For then we become liberated to approach nature without the burden of an inappropriate and impossible quest for moral messages to assuage our hopes and fears. We can pay our proper respect to nature's independence and read her own ways as beauty or inspiration in our different terms.
Stephen Jay Gould
Ruskin, John
Russ, Joanna
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