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Journal articles on the topic 'Ruston, La., in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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1

Miller, David Philip. "The Collected Letters of Humphry Davy ed. by Tim Fulford and Sharon Ruston." Eighteenth-Century Studies 54, no. 4 (2021): 1065–71. http://dx.doi.org/10.1353/ecs.2021.0080.

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2

Birch, Dinah. "'THAT GHASTLY WORK': RUSKIN, ANIMALS AND ANATOMY." Worldviews: Global Religions, Culture, and Ecology 4, no. 2 (2000): 131–45. http://dx.doi.org/10.1163/156853500507780.

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AbstractJohn Ruskin (1819-1900)—art critic, architectural historian and writer—became, in his later work, increasingly interested in the relationship between human and animal life. As an art critic, he was concerned with the representation of human and animal figures and, in particular, with anatomical studies; whilst he had a longstanding interest in scientific concepts, in particular in the ways in which evolutionary theory changed understandings of animals. This paper explores how Ruskin rejected both the anatomical approach to animals studied in art, and the dissection of animals by scient

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3

Siegel, Jonah. "BLACK ARTS, RUINED CATHEDRALS, AND THE GRAVE IN ENGRAVING: RUSKIN AND THE FATAL EXCESS OF ART." Victorian Literature and Culture 27, no. 2 (1999): 395–417. http://dx.doi.org/10.1017/s1060150399272038.

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TO SPEAK ABOUT JOHN RUSKIN’S anxious figures for engraved reproduction is to speak about his troubled relationship to a modernity in which excess and impermanence present complex and interrelated challenges. The ruined cathedral in my title occurs in lectures Ruskin delivered in 1857, and published the same year as The Political Economy of Art. Invited to speak at Manchester on the occasion of the Art-Treasures Exhibition, at the height of his fame as a critic, Ruskin responded to the moment with two lectures challenging much that the exhibition stood for. He offered the following apocalyptic

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Kellam, Amy. "Aesthetic Verdicts." Amicus Curiae 5, no. 2 (2024): 374–86. http://dx.doi.org/10.14296/ac.v5i2.5690.

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This article examines the landmark 1878 defamation case of Whistler v Ruskin, a pivotal legal battle that underscored the complexities of adjudicating art criticism under defamation law. The trial arose from John Ruskin’s scathing critique of James McNeill Whistler’s work, which led Whistler to sue for libel, seeking validation not just of his art but of his artistic philosophy. Despite the public fascination and Whistler’s tactical use of the trial as a platform for self-promotion, the jury’s award—a derisory farthing—hinted at their view of the lawsuit as frivolous. This case emphasizes the

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5

O'Hear, Anthony. "Art and Censorship." Philosophy 66, no. 258 (1991): 512–16. http://dx.doi.org/10.1017/s0031819100065153.

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We spent a wonderful morning in the van Gogh gallery in Amsterdam. Of course we knew all the paintings, we had seen them all in reproduction, and the building was more like a bank vault than a setting for art. But what art! At first sight how small and uniform the paintings were in reality: yet every blade of grass, every flower in a field, every olive tree, every vibration in the sky, every patch of colour, every brush stroke, testified to life and to a life vibrating beneath the surface form. In a true sense, an artist inspired, an artist breaking convention, artistic and social, but neverth

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6

Zgani, Mohammed Rida. "John Ruskin par la voix de Marcel Proust: acheminement vers le moi artiste." Cahiers ERTA, no. 35 (September 30, 2023): 81–100. http://dx.doi.org/10.4467/23538953ce.23.025.18475.

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John Ruskin by the voice of Marcel Proust : Journey to the artist’s self The translation of La Bible d’Amiens and Sesame et les Lys was a way for Proust to take an interest in religious art, but also to cultivate his own vision of art. Ruskin was for Proust a guide who participated in the support of his artistic self by transfering a certain number of aesthetic conceptions to which his mind would never have been able to access on its own. Proust succeeds in recognizing the decisive dimension of the Christian religion and its implications for Ruskin's aesthetics. Transcending the religious dime

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7

Ogden, Daryl. "The Architecture of Empire: “Oriental” Gothic and the Problem of British Identity in Ruskin's Venice." Victorian Literature and Culture 25, no. 1 (1997): 109–20. http://dx.doi.org/10.1017/s1060150300004654.

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On january 13, 1858 — a few months after the eruption of the Indian Mutiny — John Ruskin addressed an audience at the South Kensington Museum in London with a lecture entitled “The Deteriorative Power of Conventional Art over Nations” (published the following year as Lecture I ofThe Two Paths). Commenting on the dearth of artistic talent to be found in Scotland as opposed to the artistic abundance of India, Ruskin decrees that Indians are a “race rejoicing in art, and eminently and universally endowed with the gift of it,” whereas with Scots one is faced with “a people careless of art and appa

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8

Coyle, John. "Ruskin, Proust and the Art of Failure." Essays in Criticism 56, no. 1 (2006): 28–49. http://dx.doi.org/10.1093/escrit/cgh002.

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9

Rude, Sarah B. "A New Companion to Malory ed. by Megan G. Leitch and Cory James Rushton." Arthuriana 30, no. 1 (2020): 144–46. http://dx.doi.org/10.1353/art.2020.0009.

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10

Lisiecka, Alicja. "Recepcja poglądów Johna Ruskina na wychowanie w Polsce przełomu XIX i XX wieku." Biuletyn Historii Wychowania, no. 42 (March 15, 2020): 145–58. http://dx.doi.org/10.14746/bhw.2020.42.9.

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The purpose of this article is to show the reception of the educational views of John Ruskin (1819–1900) presented in Polish scientific literature at the turn of the XIX and XX century. John Ruskin was an great English writer, poet, painter and critic of art and social reality. Ruskin’s oeuvre, contained in numerous writings, is the result of admiration for the world, reflection on landscapes, art and timeless values: truth, goodness and beauty; he’s works are characterized by individualism, momentum, normativity, and literary style full digression. For Ruskin, there is no clear definition of

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11

Grootenboer, Hanneke. "O Paradoxo da Natureza-morta." Revista VIS: Revista do Programa de Pós-Graduação em Arte 16, no. 1 (2017): 317–27. http://dx.doi.org/10.26512/vis.v16i1.20502.

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   O texto é a tradução, publicada pela primeira vez no Brasil, de um artigo publicado pela Oxford Art Journal sobre o gênero da natureza-morta da especialista Hanneke Grootenboer da Ruskin School of Art da University of Oxford.  

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12

Evans, Graeme. "Michael Rushton (ed.): Creative communities: art works in economic development." Journal of Cultural Economics 39, no. 2 (2014): 219–24. http://dx.doi.org/10.1007/s10824-014-9227-0.

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13

Marshall, David W. "The Erotic in the Literature of Medieval Britain ed. by Amanda Hopkins and Cory James Rushton." Arthuriana 17, no. 4 (2007): 122–23. http://dx.doi.org/10.1353/art.2007.0035.

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14

Mateus, Paula. "A Função Social da Arte em Lectures on Art de John Ruskin." Philosophica: International Journal for the History of Philosophy 8, no. 16 (2000): 81–102. http://dx.doi.org/10.5840/philosophica200081616.

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In Lectures on Art John Ruskin presented us a wide educational programme and a social reform plan. Ruskin believes that artistic education can save industrial societies from degradation and misery, and help bringing England back to the way of glory - the same glory that once marked its history. This artistic education is meant to improve character and taste, enrich the perception of nature and perfect the comprehension of reality. If the plan succeeds, England is hoped to go back in time, recovering the values that its ancestors so hard fought to preserve - honour, pride and honesty - and open

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15

Wettlaufer, Alexandra K. "THE SUBLIME RIVALRY OF WORD AND IMAGE: TURNER AND RUSKIN REVISITED." Victorian Literature and Culture 28, no. 1 (2000): 149–69. http://dx.doi.org/10.1017/s1060150300281096.

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Who cares whether Mr. Ruskin’s views on Turner are sound or not? What does it matter? That mighty and majestic prose of his, so fervid and fiery-coloured in its noble eloquence, so rich in its elaborate, symphonic music, so sure and certain, at its best, in subtle choice of word and epithet, is at least as great a work of art as any of those wonderful sunsets that bleach or rot on their corrupted canvases in England’s Gallery; greater, indeed, one is apt to think at times, not merely because its equal beauty is more enduring, but on account of the fuller variety of its appeal, soul speaking to

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Gyenge, Zoltán. "Essay on the Concept of Art and Reality." ESPES. The Slovak Journal of Aesthetics 10, no. 1 (2021): 32–41. https://doi.org/10.5281/zenodo.5885489.

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Art shows something of reality as a whole, a reality that exists above or below the directly perceptible world. There is a first reality, or empirical reality, which can be mapped and captured through sense perception and is characterized by immediacy; and then there is a second or imagined reality that unfolds beyond direct empirical and experiential observation. While the animal intellect is attracted to the surface, to mere appearances, the human intellect is drawn to what lies beyond the surface. The ability to imagine is a condition of human intellect, being characterized, in Schopenhauer

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17

Hager, Mark A. "Creative Communities: Art Works in Economic Development by Michael Rushton, editor." Artivate 3, no. 1 (2014): 51–53. http://dx.doi.org/10.1353/artv.2014.0003.

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18

Frfulanović, Dragana, Aleksandra Jevtović, and Milena Savić. "Modern art and stage costume: The case of Dragilev's Ballets Russes." Tekstilna industrija 70, no. 2 (2022): 40–50. http://dx.doi.org/10.5937/tekstind2202040f.

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Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse,

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19

Moore, G. C. G. "Evangelical Aesthete: Ruskin and the Public Provision of Art." History of Political Economy 37, no. 3 (2005): 483–508. http://dx.doi.org/10.1215/00182702-37-3-483.

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20

Gagné, Ann. "Architecture and Perception: The Science of Art in Ruskin." Victorians: A Journal of Culture and Literature 136, no. 1 (2019): 124–37. http://dx.doi.org/10.1353/vct.2019.0014.

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21

Ward, Bernadette Waterman. "Gerard Manley Hopkins and Ruskin’s Idea of the Christian Artist." Religion and the Arts 22, no. 4 (2018): 446–68. http://dx.doi.org/10.1163/15685292-02204004.

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Abstract John Ruskin gave Gerard Manley Hopkins an aesthetic vocabulary imbued with Christian concepts of obedience, sacrifice, truth, and Divine Beauty. Even secular art is never morally neutral; Christian art has additional moral weight in the artist’s reverence for God’s self-revelation in creation. Hopkins’s Scotism confirmed his conviction that an artist’s work must be a responsible personal proclamation of truth about creation. Such moral responsibility discourages easy sentimentality but demands reverence for beauty. The depth of Hopkins’s interaction with etymology, syntax, and sound s

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Tvedebrink, Tenna Doktor Olsen, and Nini Camilla Bagger. "The Chairs of Venice Applying Storytelling as Teaching Method to Understand Material Cultural Heritage." Res Mobilis 9, no. 11 (2020): 124–47. http://dx.doi.org/10.17811/rm.9.11.2020.124-147.

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To understand the present and prepare for the future, we must remember our past. - And as indicated with the writings of 19th century English art critic and writer, John Ruskin; material cultural heritage holds an important lesson and plays an ethical role in establishing such a remembrance. With this paper, we discuss examples of implementing storytelling as a creative-explorative teaching method to critically reflect on- and develop the awareness and understanding of material cultural heritage among students from disciplines of Art History, Architecture, and Design. Our examples stem from a

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23

Throsby, D. "The Political Economy of Art: Ruskin and Contemporary Cultural Economics." History of Political Economy 43, no. 2 (2011): 275–94. http://dx.doi.org/10.1215/00182702-1257397.

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24

Kravchenko, Marta. "Why we should teach the History of Ukrainian art to students of Art Schools." Text and Image: Essential Problems in Art History, no. 2 (2022): 39–43. http://dx.doi.org/10.17721/2519-4801.2022.2.04.

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This essay is a response to the «Reflections on the teaching of the arts in art schools. A lecture delivered on January 4, 1966» by E.H. Gombrich. It reviews his own methods of teaching art history, as well as encouraging the student to learn. I have been teaching the history of Ukrainian art at the Lviv Academy of Arts for more than 10 years, primarily for art critics (“mysteztvoznavtzi”). This year I taught it to students from creative industries (artists) for the first time and it made me rethink the way I have been doing it and adjust it. In order to motivate artists to study art history,

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25

O'Hear, Anthony. "Prospects for Beauty." Royal Institute of Philosophy Supplement 48 (September 2001): 175–91. http://dx.doi.org/10.1017/s1358246100010778.

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Ruskin said ‘Great nations write their autobiographies in three manuscripts, the book of their deeds, the book of their words and the book of their art. Nor one of these books can be understood unless we read the two others, but of the three the only trustworthy one is the last.’

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26

Shires, Linda M. "HARDY'S MEMORIAL ART: IMAGE AND TEXT IN WESSEX POEMS." Victorian Literature and Culture 41, no. 4 (2013): 743–64. http://dx.doi.org/10.1017/s106015031300020x.

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Thomas Hardy noted regretfully: “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and references to specific art works, he overtly probed the image/text relation in his 1898 debut volume of poetry: Wessex Poems and Other Verses, by Thomas Hardy

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27

Kong, Yingying, Yabo Wang, and Jingen Yang. "Fredholm Theory Relative to Any Algebra Homomorphisms." Mathematics 12, no. 12 (2024): 1785. http://dx.doi.org/10.3390/math12121785.

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In this paper, we give another definition of Ruston elements and almost Ruston elements, which is equivalent to the definitions given by Mouton and Raubenheimer in the case that the homomorphism has a closed range and Riesz property. For two homomorphisms, we consider the preserver problems of Fredholm theory and Fredholm spectrum theory. In addition, we study the spectral mapping theorems of Fredholm (Weyl, Browder, Ruston, and almost Ruston) elements relative to a homomorphism. Last but not least, the dependence of Fredholm theory on three homomorphisms is considered, and meanwhile, the tran

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28

Meikle, Jeffrey L., and Eileen Boris. "Art and Labor: Ruskin, Morris, and the Craftsman Ideal in America." Technology and Culture 29, no. 1 (1988): 173. http://dx.doi.org/10.2307/3105259.

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29

Morgan, H. Wayne, and Eileen Boris. "Art and Labor: Ruskin, Morris, and the Craftsman Ideal in Ameica." American Historical Review 92, no. 1 (1987): 216. http://dx.doi.org/10.2307/1862940.

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30

Cook, Ramsay, and Eileen Boris. "Art and Labor. Ruskin, Morris and the Craftman Ideal in America." Labour / Le Travail 22 (1988): 327. http://dx.doi.org/10.2307/25143077.

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31

Stankiewicz, Mary Ann, and Eileen Boris. "Art and Labor: Ruskin, Morris, and the Craftsman Ideal in America." Journal of Aesthetic Education 23, no. 3 (1989): 122. http://dx.doi.org/10.2307/3332773.

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32

Brake, Laurel. "The Politics of Illustration: Ruskin, Pater and the Victorian Art Press." Interfaces 15, no. 1 (1999): 169–88. http://dx.doi.org/10.3406/inter.1999.1168.

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33

Radnóti, Sándor. "The Religious Experience of the Landscape Ruskin and Nature." Acta Historiae Artium 61, no. 1 (2020): 181–99. http://dx.doi.org/10.1556/170.2020.00007.

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AbstractThis paper reconstructs Ruskin’s work from the perspective of the landscape, building upon the assumption that Modern Painters played a cardinal role in the emancipation of the genre. This reconstruction is complicated by the internal contradictions within the work: it cannot be regarded as a systematic work of philosophy, but belongs rather to the genre of sage writing. In volume I, Ruskin approached the landscape not from an aesthetic point of view, but from the direction of scientific truth. The aesthetic consequence of this was his anti-mimetic attitude, which differentiated betwee

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Zivkovic-Zlatanovic, Snezana, and Robin Harte. "On almost essentially Ruston elements of a Banach algebra." Filomat 24, no. 3 (2010): 149–55. http://dx.doi.org/10.2298/fil1003149z.

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35

Rolland, Jenny, and Jane Rusden. "September Meeting Report: Speaker, Jane Rusden "Art Residency at Witchelina Reserve Nature Foundation SA & Bimblebox Art and Science Camp." Castlemaine Naturalist 48, no. 524 (2023): 1–3. http://dx.doi.org/10.5962/p.402361.

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36

Saler, Michael. "Making It New: Visual Modernism and the “Myth of the North” in Interwar England." Journal of British Studies 37, no. 4 (1998): 419–40. http://dx.doi.org/10.1086/386174.

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We often associate visual modernism with cosmopolitan cities on the Continent, with pride of place going to Paris, Vienna, Prague, Berlin, and Munich. English visual modernism has been studied less frequently—the very phrase “English modernism” sounds like a contradiction in terms—but it too is usually linked to the cosmopolitan center of London, as well as to the notorious postimpressionist exhibitions staged there by Roger Fry in 1910 and 1912. Fry coined the term “postimpressionism” to embrace the disparate styles of Cézanne, Van Gogh, Matisse, Picasso, and others that he introduced to a be

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37

КАТАЯЛА, Киммо. "ЛИНИЯ, ЗОНА ИЛИ РЕШЕТО? КОНЦЕПТУАЛИЗАЦИЯ РОССИЙСКО-ШВЕДСКОЙ ГРАНИЦЫ 1617 г." Nordic and Baltic Studies Review, № 2 (грудень 2017): 11. http://dx.doi.org/10.15393/j103.art.2017.755.

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38

Cleere, Eileen. "Dirty Pictures: John Ruskin, Modern Painters, and the Victorian Sanitation of Fine Art." Representations 78, no. 1 (2002): 116–39. http://dx.doi.org/10.1525/rep.2002.78.1.116.

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WHILE MY PROJECT IS BROADLY INTERESTED in the interdisciplinary work of what I will call sanitary art in nineteenth-century Britain, this essay is primarily concerned with a watershed moment in the production of that interdisciplinarity. In 1842, Edwin Chadwick published his Report on the Sanitary Condition of the Labouring Population; the following year, John Ruskin published the first volume of Modern Painters. Incomparable in subject, genre, and style, these texts would nonetheless participate in the same cultural project, producing between them a discourse of ''dirty'' art that challenged

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39

Krieg, Katelin. "RUSKIN, DARWIN, AND LOOKING BENEATH SURFACES." Victorian Literature and Culture 45, no. 4 (2017): 709–26. http://dx.doi.org/10.1017/s1060150317000171.

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John Ruskin and Charles Darwinshared a desire to change the way their readers looked at both nature and art. However, when considering them together, we typically remember their failure to see eye to eye on man's place in nature. Examining Ruskin's responses to Darwin's work, sexual selection in particular, or Ruskin's late dissatisfaction with Victorian science more generally, scholars have emphasized their conflicting worldviews. Yet this tendency to focus on conceptual disagreement fails to consider a shared intellectual background between the two men: the science of geology.

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40

Borysov, A., S. Pavlenko, and D. Borodai. "TO THE SCIENTIFIC BIOGRAPHY OF RUSLAN SERGIYOVYCH ORLOV (30.09.1949—23.09.2013)." Archaeology and Early History of Ukraine 53, no. 4 (2024): 275–88. https://doi.org/10.37445/adiu.2024.04.18.

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On 30 September 2024, Ruslan Orlov would have turned 75 years old. The anniversary gives us a good opportunity to honour the memory of the late researcher and to begin at the same time an objective study of the scientific biography of the scholar and his contribution to the development of various areas of national archaeological science. The paper provides key biographical information about the researcher and the stages of his scientific career. Panorama of his field archaeological work is briefly presented and the archaeological research in the three chronicle cities of the Kyiv region: Yurie

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Farthing, Stephen. "A case study, Eric Hebborn, Rome Scholar 1959‐61: The art and craft of forging a drawing." Drawing: Research, Theory, Practice 5, no. 1 (2020): 73–83. http://dx.doi.org/10.1386/drtp_00021_1.

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An exploration of forgery and drawing that focuses on a twentieth-century practitioner, his art education, motivation and methodology, this critical article was inspired by a meeting that took place in a village near Rome during the autumn of 1976 between the author and Eric Hebborn (1934‐96). Written some forty years later, this article has two goals; first to contribute to the debate that now circles the role of drawing within the contemporary fine art curriculum and then to question the nature of the biographical information Ruskin suggested was embedded in artists drawings. Hebborn, a skil

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Harris, Wendell V. "Ruskin's Theoretic Practicality and the Royal Academy's Aesthetic Idealism." Nineteenth-Century Literature 52, no. 1 (1997): 80–102. http://dx.doi.org/10.2307/2934030.

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While Ruskin's personal eccentricities and intellectual foibles are well known, the influence exerted by Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice was in no small part a result of a kind of practicality and reasonableness not generally associated with Ruskin. He began writing at a fortunate time-seventy years of effort by the Royal Academy, seconded by the formation of other societies of British artists and the founding of the Dulwich Gallery and the National Gallery, had prepared a public eager for instruction about the values of art. This kind of instruction

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43

Jancy, Ms K., and Dr V. Manimozhi. "John Ruskin as a Social Reformer, and his views on Political Economy." International Journal of English Literature and Social Sciences 7, no. 1 (2022): 329–30. http://dx.doi.org/10.22161/ijels.71.45.

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Ruskin born in 1819, he studied at seventeen and joined next year Christ College,Oxford, also good gentlemen. He was the foremost English art critic of the Victorian age. Ruskin convicts the science of political Economy as it makes no providing for social cares. Also it bases itself on the theory of utility, and which does not principal to this end and past its influence. It has striking and attractive piece like alchemy, astrology or witchcraft, but its reality is terrible and cold-hearted. The transmission of wealth in a public of nations can be associated to that of blood in the human body.

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44

Fagan, Joshua. "The Hard Times of History and Science: Dickens, Ruskin, and the Challenge of Modernity." Dickens Quarterly 42, no. 2 (2025): 135–53. https://doi.org/10.1353/dqt.2025.a962823.

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Abstract: Comparing Charles Dickens with the Victorian art critic John Ruskin, who both appreciated and condemned Dickens, reveals the philosophy of history Dickens exhibited throughout his career. While both viscerally condemned the alienating avarice of industrial society, Ruskin fundamentally saw what he viewed as the cohesion and sincerity of the medieval past as a model for revitalizing the present. Conversely, Dickens saw that past as irrelevant at best and oppressive at worst. Dickens viewed the course of history as tentative and erratic but gradually improving, and a major component of

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45

Hilton, J. Anthony. "Ruskin’s Influence on English Catholicism." Recusant History 25, no. 1 (2000): 96–105. http://dx.doi.org/10.1017/s0034193200032015.

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In 1849 John Ruskin published The Seven Lamps of Architecture and in the following year the English Catholic hierarchy was restored, involving the creation of a diocesan administration, made possible by toleration and made necessary by increasing numbers and influence. As Ruskin’s work broadened out from art and architecture to encompass the economy and society, his teaching was to have a profound and lasting effect on the thinking of leading English Catholics.

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Ferguson, Nicholas. "Migrating Landscapes." Transfers 12, no. 2 (2022): 8–23. http://dx.doi.org/10.3167/trans.2022.120203.

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Abstract This article, one element in a multifaceted art research project, explores the agency of the aircraft landing gear compartment (wheel bay) in global transfer. It takes as its beginning histories of human and other-than-human actors falling from aircraft wheel bays as aircraft descend into London Heathrow and asks what art research can bring to the problem of their political and ethical framing. Its theoretical touchstones include John Ruskin on dust and the object-oriented philosophies of new materialism. These are brought into conversation with an account of the process of modeling a

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47

Smith, Mary Ann. "Art and Labor: Ruskin, Morris and the Craftsman Ideal in America Eileen Boris." Journal of the Society of Architectural Historians 46, no. 3 (1987): 300–301. http://dx.doi.org/10.2307/990241.

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48

Brandt, Beverly K. "Art and Labor; Ruskin, Morris, and the Craftsman Ideal in America. Eileen Boris." Archives of American Art Journal 26, no. 1 (1986): 26–29. http://dx.doi.org/10.1086/aaa.26.1.1557355.

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Scully, Sean. "Meditations on Pleasure: John Ruskin and the Value of Art in the Classroom." Teaching Artist Journal 15, no. 2 (2017): 64–67. http://dx.doi.org/10.1080/15411796.2017.1321544.

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Trapp, Kenneth R. "Art and Labor: Ruskin, Morris, and the Craftsman Ideal in America. Eileen Boris." Winterthur Portfolio 22, no. 2/3 (1987): 210–13. http://dx.doi.org/10.1086/496333.

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