DREIESKIVA​|Roald Kvam

John Ruskin’s On Art and Life is a profound reflection on the interplay between art, society, morality, and craftsmanship. In this work, Ruskin critiques the state of modern industrial society, drawing attention to how mechanization and economic forces have diminished both artistic expression and human dignity. He argues for a return to a more integrated and meaningful relationship between art and life, wherein beauty, truth, and moral values are preserved through craftsmanship and thoughtful artistic creation.

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Art and society

Ruskin begins by asserting that art is inseparable from the conditions of the society in which it is created. He believes that art is not merely an aesthetic pursuit but a reflection of the ethical and moral health of a civilization. To Ruskin, a society that values truth, integrity, and human welfare will produce great art, while one driven by greed, industrialization, and mechanical efficiency will create soulless and uninspired works.

He critiques the growing industrialization of the 19th century, emphasizing that mass production and mechanization strip away the individuality and creativity of artisans. In pre-industrial times, craftsmen took pride in their work, embedding their spirit and skill into every piece. However, with the rise of factories, labor became dehumanized, reducing artisans to mere cogs in a machine. As a result, art became disconnected from its traditional role as a form of human expression and moral guidance.

The importance of craftsmanship

One of Ruskin’s central arguments is the value of craftsmanship. He praises the work of medieval artisans, particularly the Gothic architects and sculptors, who were not only skilled but also deeply invested in their work. These artisans, unlike modern factory workers, had creative freedom and an intimate relationship with their materials. Ruskin sees this as the ideal model of artistic labor—one in which individual expression and communal values merge to create works of beauty and significance.

He contrasts this with the architecture and decorative arts of the Industrial Revolution, which he sees as sterile and formulaic. He condemns mass-produced ornamentation, arguing that true art must be rooted in honest craftsmanship rather than mere replication of fashionable styles. According to Ruskin, art should not just imitate appearances but should reveal deeper truths about life and nature.

Art and morality

Ruskin strongly believes in the moral responsibility of the artist. To him, art is not simply about beauty; it is about conveying truth. An artist must be sincere in their representation of the world, striving for authenticity rather than superficial appeal. He argues that dishonest or careless art—such as that produced merely for profit—harms both the artist and the audience by promoting falsehoods and empty spectacle.

In this view, the decline of genuine craftsmanship is not just an artistic problem but a moral one. If workers are alienated from their labor and forced into mechanical repetition, they lose their sense of purpose and fulfillment. This dehumanization leads to a broader societal decay, where ethical values are sacrificed for economic gain. Ruskin thus calls for a return to artistic sincerity, where artists and craftsmen take pride in their work and create objects that reflect truth and human dignity.

Architecture as a reflection of society

Architecture plays a crucial role in Ruskin’s argument, as he sees it as the most enduring and public form of art. He admires the Gothic style, which he views as a manifestation of a society that valued freedom, creativity, and individual expression. The irregularities and imperfections of Gothic cathedrals are, for Ruskin, signs of human engagement and sincerity—they reveal the hands of their makers and the devotion that went into their creation.

By contrast, he criticizes the rigid symmetry and lifeless perfection of Renaissance and Neoclassical architecture, which he believes reflect societies obsessed with control and superficiality. He argues that buildings should be expressions of the values of their creators rather than mere displays of wealth and power. A city’s architecture, in his view, should foster a sense of community, morality, and beauty, rather than alienation and cold efficiency.

The relationship between art and nature

Another key theme in On Art and Life is the connection between art and nature. Ruskin insists that true art must be rooted in a deep understanding and appreciation of the natural world. He criticizes artificiality and stylization, advocating instead for direct observation and truthful representation.

For Ruskin, nature is the ultimate source of artistic inspiration because it embodies divine order and truth. Artists should study nature closely, not merely to replicate its forms but to understand its deeper principles. He believes that nature provides moral and spiritual lessons that can elevate both the artist and the audience. By capturing the beauty and complexity of the natural world, art can serve as a means of uplifting society and reinforcing ethical values.

Critique of industrialization

Ruskin’s work can be read as a critique of industrial capitalism and its effects on human life and creativity. He sees industrialization as a force that prioritizes profit over people, efficiency over artistry, and uniformity over individual expression. The factory system, in his view, alienates workers from their labor, depriving them of the satisfaction that comes from creating something meaningful with their own hands.

This economic system, he argues, does not just affect workers—it affects art, architecture, and society as a whole. In a world where everything is reduced to its market value, artistic integrity is lost, and beauty becomes a commodity rather than a shared cultural and moral pursuit. Ruskin’s critique is not just economic but deeply humanistic: he calls for a world in which people take pride in their work and contribute to a society that values creativity, truth, and beauty.

The role of the artist in society

Ruskin sees artists as having a crucial social responsibility. They are not just creators of beautiful objects but moral and intellectual leaders who can inspire and educate society. He believes that art has the power to uplift people, to instill a sense of wonder and ethical reflection. However, for this to happen, artists must remain true to their craft and resist the temptations of commercialism and empty spectacle.

He also advocates for the education of artists and artisans, believing that a well-rounded knowledge of history, nature, and morality is essential for true artistic achievement. Without a strong intellectual and ethical foundation, art risks becoming trivial or deceptive.

Conclusion: The union of art and life

In On Art and Life, Ruskin ultimately calls for a reintegration of art into everyday existence. He believes that beauty and craftsmanship should not be confined to galleries or the possessions of the wealthy but should be part of the fabric of daily life. Buildings, objects, and public spaces should all reflect the highest ideals of human creativity and morality.

To achieve this, society must reject the dehumanizing effects of industrialization and rediscover the values of craftsmanship, honesty, and a close connection with nature. Art should not be a luxury or an afterthought—it should be central to how we live and how we see the world. Ruskin’s vision is both aesthetic and ethical: he imagines a society in which art, morality, and labor are harmoniously united, leading to a richer and more meaningful human experience.

His work remains influential, particularly in discussions about architecture, labor rights, and the philosophy of aesthetics. By championing craftsmanship and ethical integrity, Ruskin provides a timeless critique of industrial capitalism and a compelling vision for a more humane and beautiful world.