WorkRuskin found this scene of English 'every-day occurrence' (
Works, 3, p. 236), 'peculiarly simple' in comparison to Turner's Alpine scenes and 'dreamy' Italian landscapes. It comes from
Liber Studiorum, a set of 71 architectural and landscape pictures, etched and produced in mezzotint by Turner and his assistants between 1807 and 1819.
Ruskin may have got the idea for the prints from Claude Lorrain's
Liber Veritatis, or 'Studies of Truth', a set of topographical landscapes prints produced in 1635-36. 'Liber Studiorum' translates roughly as 'free studies', a title that refers to the fact that the prints were not commissioned or ordered. Turner could choose the subjects himself.
The prints in
Liber Studiorum come in different categories: Mountainous, Historical, Architectural, Pastoral and 'EP' (generally thought to mean Elevated or Epic Pastoral). In Turner's words, these themes were meant to 'attempt a classification of the various styles of landscape.'
ArtistJoseph Mallord William Turner was a major English landscape and history painter. As a thirteen-year old boy, Ruskin was given an illustrated second edition of Samuel Roger's poem
Italy (1830), which contained twenty-five watercolour vignettes by Turner, each engraved on steel. These inspired him with life-long affection for the artist.
The young Ruskin was first moved to defend Turner in print on reading a review in
Blackwood's Edinburgh Magazine of three paintings hung at the Royal Academy in 1836.
Juliet and her Nurse and
Mercury and Argos had been singled out for criticism by the Reverend John Eagles.