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Modern Painters, Volume III Quotes by John Ruskin: Context & Meanings

2 quotations linked to Modern Painters, Volume III by or associated with John Ruskin, with source notes, explanations and related topics.

About this source

John Ruskin’s 1856 third volume of Modern Painters

Topics and ideas

Art, greatness, imagination, humility, self-respect, creative power, criticism, vocation and Ruskin’s distinction between accurate confidence and self-worship.

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2 quotations with source context and meaning

Source identified1
I believe the first test of a truly great man is his humility.

“I believe the first test of a truly great man is his humility.”

Ruskin defines greatness without self-worship: genuine ability can be recognized accurately while still being held inside a larger sense of proportion, dependence and responsibility.

Source details

Modern Painters, Volume III, Part IV, Chapter XVI, “Of Modern Landscape,” section 24, printed page 260, Project Gutenberg #38923. Ruskin calls humility the first test of a truly great man, then immediately distinguishes humility from doubting one’s real power or hesitating about one’s opinions; his point is proportion, not self-denial. This is Victorian art criticism and moral reflection, not modern clinical or psychological evidence about humility.

Source identified2
It is only by honest reverence for art itself, and by great self-respect in the practice of it, that it can be rescued from dilettantism.

“It is only by honest reverence for art itself, and by great self-respect in the practice of it, that it can be rescued from dilettantism.”

Ruskin makes self-respect visible in workmanship: professional dignity comes from reverence for the work and serious standards in practice, not from chasing admiration or the social position of being called great.

Source details

Modern Painters, Volume III, Part IV, Chapter III, “Of the Real Nature of Greatness of Style,” section 3, printed page 26, Project Gutenberg #38923. Ruskin contrasts pursuing art to become a “great man” or attract admiration with honest reverence for art and self-respect in its practice, which he says can rescue art from dilettantism and fit it for service. This is nineteenth-century art-critical / vocational argument, not a modern organizational or occupational-health rule.