Influence of Benjamin Robert Haydon's Arts to John Ruskin's

From this upbringing, Haydon learned the benefits of possessing great dreaming to create a brio of great achievement.

Haydon's father was matchless of the many sources that helped mold the deviceist into the great man be became. His teachers and the heroes of his youth were equ in ally as inspiring to the young Haydon. perchance most crucial was the nature of Haydon himself. His extreme inquisitiveness and oddment lead him to pursue his elegant dreams of greatness. Haydon attended grammar school in Plymouth at Plympton St. Mary. While reading Joshua Reynolds's Discourses a sudden fondness for historical painting was ignited in Haydon. Simultaneously, a Neapolitan employee of his father fostered Haydon's talent for drawing. (Peters 3)

At 18, later on a extended apprenticeship, Haydon felt he had learned all he could from his father. Desiring to gallop the breadth of his exposure, in 1805 Haydon entered the Royal Academy of London. Haydon was an enthusiastic student, who, after attending lectures given by the anatomist and surgeon Charles Bell in 1806, became very enkindleed in human anatomy. In just two years, Haydon proudly exhibited his first of many historical paintings, "The two-eyed violet in Egypt."

As he began his professional career, it became Haydon's consuming desire to become the greatest historical painter England had ever known. He i

Though Haydon's prevailing interest focused on serious historical subjects, he alike occasionally produced paintings with a humorous leaning. These works included: " fling Election" in 1827 and "Punch, or May Day" in 1829. Haydon also possessed a general dislike of portraiture, though he had the Duke of Wellington sit for him, as well as completing a portrait of the renowned nineteenth-century poet and friend William Wordsworth in 1842, entitled "Wordsworth Musing On Helvellyn", which was described by the poet himself as the best likeness of him ever made. (Peters 11)

ntended to devote the rest of his life to painting biblical and classical subjects such as "The feeling Of Solomon" in 1814, "Christ's Entry Into Jerusalem" in 1820, and "The Raising Of Lazarus in 1823.

Though Haydon's intent was noble, many critics concur that Haydon's true artistic ability demonstrated through his work fell in short of his ambitions. Some critics admit even suggested that his multi-figure compositions were little more than melodrama.

Haydon's wreak on the art critic John Ruskin's social concepts of nineteenth-century art becomes evident when one compares their philosophies, published works, and artistic endeavors. Although Haydon's life was a story of bombastic frustration and intransigent opposition to the establishment, he fought tenaciously for personal recognition and argued strenuously for the social end of art. His lectures in the provinces on such topics anticipated those of Ruskin and Morris, and influenced many others as well.

In terms of Haydon's relationship to nineteenth-century art, scholars have learned that his primeval ambition was to adorn the public and government buildings of the United commonwealth with historical representations in artistic form of her achievements and contributions to civilization, and the majority of them have agreed that he was well versed in all points of his profession. But his choice of subjects and his talent were not witho
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