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The Art of Advocacy: Briefs, Motions, and Writing Strategies of America's Best Lawyers (Aspen Coursebook)

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Product details

Series: Aspen Coursebook

Paperback: 300 pages

Publisher: Aspen Publishers; Aspen Coursebook edition (June 28, 2013)

Language: English

ISBN-10: 9781454818380

ISBN-13: 978-1454818380

ASIN: 1454818387

Product Dimensions:

7 x 0.8 x 10 inches

Shipping Weight: 1.2 pounds (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

39 customer reviews

Amazon Best Sellers Rank:

#204,204 in Books (See Top 100 in Books)

I received The Art of Advocacy earlier this week. I haven't finished it yet, but I've devoured much more of it than I thought I would so soon. I can tell already that it's going to be a mainstay on the bookshelf above my desk. In fact, it should be a mainstay on every litigator's bookshelf.I'm a senior associate in the litigation group of relatively large firm. I do quite a bit of motions briefing in my current gig. I'm an okay writer, and I've been lucky to be blessed by cases with good facts and law (which have led to several wins.) Despite that joy that comes from success, my biggest problem has always been that I find good written advocacy to be really, really difficult. It does not come naturally, and the anxiety/frustration that comes with wanting it to be perfect - but knowing that won't be easy - isn't very fun. This is the reason The Art of Advocacy has sucked me in.The book's style and format is different from any other advocacy text I've seen. And, I love it. Reading through the carefully selected examples has motivated me to dive back into writing projects, trying to emulate the techniques in the excerpts I just read. I imagine it's not unlike watching Michael Jordan highlights before heading out to the basketball court. Whether conscious or not, observing the best inspires you to go out and try to play the same way. (And, hopefully, make your effort a little bit stronger in the process.)So, well done Mr. Messing. You've done a very valuable thing here. This is a real resource, I expect it to overly dog-eared and highlighted in no time. This should be required reading for every lawyer -- from first year associates to partners. Buy it.

In a field in which effective practitioners MUST be good writers, this book is absolutely essential. I cannot recommend it highly enough for anyone looking to improve their legal writing.I wrote reasonably well before entering law school, so I assumed that I would have no trouble with legal writing. But it turns out that legal writing is hard. Lawyers work in an artificial world in which nearly everything is constrained—the available facts, the authoritative texts, the accepted argumentative forms. Even the structure of an argument is restricted by the court’s local rules. To write effectively, you can’t just navigate these obstacles; you have to actively use them to your advantage. Messing’s book teaches you how to do that at every turn.The book is outstanding in a number of ways, but three stood out to me.First, and most importantly, I wholeheartedly believe in Messing’s pedagogical approach: “the only good way to learn about writing is to read good writing.” That’s particularly true in a field as specialized and insular as law. Understanding the “principles” of effective writing is important, of course, but learning to write by learning rules is like learning how to hit a baseball by studying biomechanics. Messing’s lessons are built around meaty examples from top advocates, so you’re constantly exposed to exemplary work. You can’t help but pick up good habits.Second, the book shows that every aspect of a brief can and should be persuasive. Perhaps the most important thing I learned from the book is the power of facts. (That Messing dedicates three chapters to facts is telling.) There’s even a chapter on weaponizing your table of contents—something I had never considered before picking the book up.Third, while the excerpts are the book’s main attraction, Messing’s copious annotations are packed with useful information. Following his advice from the introduction, I read the examples first, ignoring the annotations. Then I returned for a second reading, this time including the annotations. I was consistently shocked by how little I noticed on my own. Subtle bits of advocacy were folded into every nook of the arguments. Without a veteran guide, it’s difficult to see what good lawyers are doing, or why they’re doing it. Messing breaks it down. At the same time, he doesn’t pull punches. When a lawyer slips up, Messing points it out, and explains how it could have been better.There are other things about the book that I appreciated. It’s simple and straightforward, but covers advanced strategies. The writing is excellent—as it should be in a book about writing! The organization and typesetting are smart and attractive, so the book is enjoyable to read.I could go on, but I won’t. This is a fantastic book. If you’re a law student, you owe it to yourself to read it. Even if you’re an experienced lawyer, I’d be shocked if this book didn’t help you improve your craft.(One note. I originally bought the Kindle edition, but the layout isn’t as good as the print version. Unless you’re trying to go fully digital, get a paper copy.)

Awesome! learned some great tips and trips.However, this book teaches more by showing examples of writing and using annotations to explain what the author of the book felt the author of the brief (or other writing) did correctly/effectively. I like this style way better than my "traditional" legal writing book that was assigned, but it may not be for you.We were assigned the book "Your Client's Story" for Legal Writing class. I didn't like that book and kept getting mediocre grades on assignments. So I bought this book and it helped a LOT!!1

Struggling through my first brief, I heard about this book form my 3L mentor. I'm glad I took his advice. Noah does a great job of distilling the most salient points in each excerpt and then categorizing them by theme. Rather than having to read through the whole book, whenever I'm in a tough spot, I simply jump to the relevant chapter. I've been told time and time again that learning to writing is exercise. Emulating the practices of great legal writers has been a great way to get my feet wet, thanks Noah!

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File Size: 1042 KB

Print Length: 184 pages

Simultaneous Device Usage: Unlimited

Publication Date: March 3, 2019

Language: English

ASIN: B07PD2SPX1

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Ebook Free My First Legends: the Story of Bluebonnet, by Tomie dePaola

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My First Legends: the Story of Bluebonnet, by Tomie dePaola

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About the Author

Tomie dePaola (www.tomie.com) is the acclaimed author and/or illustrator of more than 250 books for children. His books range from autobiographical stories to retellings of folktales and legends to original tales, such as the Strega Nona books. He lives in New London, New Hampshire.

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Product details

Age Range: 3 - 5 years

Grade Level: 2 - Kindergarten

Series: My First Legends

Board book: 12 pages

Publisher: Grosset & Dunlap; Brdbk edition (March 17, 2011)

Language: English

ISBN-10: 0448455323

ISBN-13: 978-0448455327

Product Dimensions:

7.5 x 0.3 x 8 inches

Shipping Weight: 8 ounces

Average Customer Review:

4.2 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#895,345 in Books (See Top 100 in Books)

We have ties to Texas and are naturally crazy about bluebonnets, as well as admiring anything Tomi de Paolo does, so when I saw this as an Amazon suggestion, I bit on it. We also are rather into Indian lore. It is a brief little story with a moral, but I was in tears by the time I finished previewing it! Not quite what I had expected to hand on to the grandkids whose story books so far have had "happy endings".I can only hope they'll grow up to be as unselfish as the heroine of the book.

After reading the legend I feel it is not for young children as it is too intense. I did not give it to my grandchildren as originally intended.

This book was very good for preschool ages 3-5. The book was easy to understand and the children listened while it was read to them.

The Story of Bluebonnet was exactly as described and arrived quickly. My class enjoyed the story and making bluebonnets afterwards.

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Free Ebook The Fires of Spring: A Post-Arab Spring Journey Through the Turbulent New Middle East - Turkey, Iraq, Qatar, Jordan, Egypt, and Tunisia, by Shelly Culbertson

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"A well-documented, brave, and useful overview." - Kirkus STARRED review"[A] comprehensive and probing analysis of the Arab Spring’s impact... A book rich in invaluable information about both current conditions and possible future trends in Middle Eastern life and politics." - Booklist"Culbertson walks through the citadels of Amman and Carthage and the pyramids of Egypt, vividly illustrating the omnipresence of the ancient in the modern; her treatment of the Ottoman Empire's demise is particularly illuminating."―Publishers Weekly"An engaging meander that weaves history, culture, politics, and economics into a cohesive narrative....the reader comes away with a sense not only of what went wrong, but also what has gone right, along with an appreciation for the diversity of the region and its people."―The Christian Science Monitor (Best Books of April)"Shelly Culbertson takes her readers on a post-Arab Spring political tour of six of the countries touched by the 2011 uprisings. Her interviews and observations are careful and shrewd; she knows the region and understands how systemic inertia slows the processes of political change."―Dallas Morning News"This recommended overview of a complex set of upheavals in the Middle East explains both the causes and outcomes of the widespread unrest with clarity and a tone of affection and concern for the region."―Library Journal"A glorious tapestry of people, history and sometimes unspoken analysis that provides the reader the raw material to draw his or her own conclusions... truly an excellent book."―Pittsburgh Post-Gazette"Highly readable...This first-person account...matches the professional rigor of RAND with her open eyes and heart."―Pittsburgh Quarterly"The Fires of Spring is exceptionally well written, balanced, judicious, and insightful. It is an impressive blend of travelogue, history, and analysis that shows that the changes initiated by the Arab Spring are still working themselves out in ways that are not fully predictable, but perhaps more positive than the current scene might lead one to believe."―James Dobbins, Senior Fellow with the RAND Corporation and former Assistant Secretary of State"Shelly Culbertson is a sensitive observer with a deep knowledge of the developments in the Middle East since the Arab Spring. Travelling through six very different countries, she unravels the similarities and differences of their predicaments, and shows that long term optimism is still possible despite the huge challenges they face. Her book is an example of what travel writing should really be, and shows that no one should despair despite the dreadful conflicts that are raging in parts of the region."―John McHugo, author of A Concise History of the Arabs and Syria: A History of the last Hundred Years"The Fires of Spring is a wonderful, penetrating, and sympathetic look at six Middle Eastern societies rent by the turmoil of the Arab spring and deep-rooted conflict. Through interviews with a multitude of characters and travelogue of the highest order, Culbertson opens a window into the cultural dilemmas, daily hardships and political dramas playing out from Ankara to Cairo."―Linda Robinson, New York Times bestselling author of Masters of Chaos, Tell Me How This Ends and One Hundred Victories“The Arab Spring set in motion processes of change in the Middle East that will last for decades. We can try to understand its significance through statistics and expert reports. Or we can follow the stories of individuals, trying to understand the region in the round. The Fires of Spring tells those stories across six countries. It is a compelling and enlightening read.”―Anne-Marie Slaughter, President and CEO, New America "This book has captured the essence of this historic transformation the Arab world is going through. The complexities, frustrations and hopes of the period which was at first romantically called 'the Arab Spring' are vividly brought to the reader through a journey across countries with different experiences and people with varied outlooks. Shelly Culbertson has masterfully painted a picture of the current challenges facing the region, and more importantly of the promise the future might bring."―Marwan Muasher, Vice-President of the Carnegie Endowment for International Peace and former Deputy Prime Minister of Jordan

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About the Author

Shelly Culbertson has lived, worked, and traveled extensively in the Middle East. She is a Middle East analyst at the RAND Corporation and formerly worked at the U.S. Department of State. Her commentaries about the Middle East have appeared in Newsweek and U.S. News & World Report, on CNN.com, and elsewhere.

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Product details

Hardcover: 384 pages

Publisher: St. Martin's Press (April 19, 2016)

Language: English

ISBN-10: 1250067049

ISBN-13: 978-1250067043

Product Dimensions:

6.3 x 1.2 x 9.5 inches

Shipping Weight: 1.3 pounds (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

9 customer reviews

Amazon Best Sellers Rank:

#247,693 in Books (See Top 100 in Books)

I travel for work in the Middle East on a semi-regular basis, and I've wanted a book that explores the different countries and cultures in a useful way. This is a 101 to the region for smart people who don't have enough time to read long, complicated treatises. Culbertson's role as an analyst and expert on education and innovation, plus her broad experience in Jordan, Lebanon, Qatar, Turkey, and Kurdistan, make her the perfect companion for an intelligent tour. The Arab Spring has long been a fuzzy concept for me that only grew more confusing the more I studied it. The Syrian conflict remains a mysterious web of what seem to be lost opportunities. Culbertson's book is passionate, intelligent, and warm, but she also cuts to the chase and tells you what you need to know.My favorite chapter analytically is on Turkey, because I recently returned from a first visit there. Her discussion of Topkapi Palace helped me make sense of it as a relic of the Ottoman Empire. When I visited it seemed such an odd artifact on the Bosphorus: so sprawling and once-powerful, yet now a museum. Following Culbertson on a walk through the palace showed me how essential Turkey is to Middle East stability, and how important it is that Istanbul rebounds.

What a delight! Very few books on this topic combine current events, political history and travelogue better than Ms Culbertson's "The Fires of Spring." It is so easy to imagine yourself traversing the countryside, navigating the city streets and moving between border checkpoints. Ms. Culbertson's command of the English language is unrivaled, her scrutiny of the eyewitnesses to the recent history she chronicles is thorough and complete, and her passion for the issues and people is genuine. Regardless of your level of interest of the topic you will walk away captivated by her narrative. A very important work that will figure prominently in this genre for years to come.

This is a collection of notes from interviews with many people in different countries. Some are insightful, some not very interesting. Overall, a patchy picture emerges that is deeper and more informative for some countries and less so for others. She covers a very big canvas with a very thin coat of content.

I picked up this book up to get a broader perspective on the aftermath of the Arab Spring. The author's choice of interview partners with people from all walks of life--camel racers, poets, business entrepreneurs, scholars, refugees-- transformed historical and political reflections to resemble more a page-turning novel. If you're interested in understanding the diverse people and culture in the Middle East--a must read.

I just put down Shelly's excellent, insightful, and thoroughly engaging work. Bravo, Shelly -- you have outdone yourself and can now take a seat on the podium with the most illuminating and justifiably respected analysts of this most complex and fascinating region. Full disclosure is in order: I've known and admired Shelly for many years, having worked with her in a prior incarnation when she was a mere mortal. Reading "The Fires of Spring" was like a conversation with an old friend -- a very intelligent, highly intuitive and observant friend. Trust me on this: Shellly Culbertson will fascinate and enchant you. You couldn't ask for a more erudite, engaging traveling companion.

Too slow moving and some information to detailed! Looking for more highlites then great depth

A very well presented and supported account of a seminal moment in the future of the middle east. This book perfectly blends an anecdotal narrative with concrete history and context resulting in a great read. Great for anyone with an interested in understanding the conflict of a part of the world shrouded in misinformation.

Islam is a mystery to most of us. Americans walk about with the muddled impression that it’s a religion; or no, it’s a political system; or no, it’s a nation somewhere out in the middle of a dessert. The depth of our ignorance has been plumbed by Donald Trump who won wide approval for promising to keep Muslims out of the country. Ours is a democratic republic, however. We owe it to ourselves to become better informed. An excellent place to start is The Fires of Spring by Shelly Culbertson released in April, 2016 by St. Martin’s Press.Ms. Culbertson, a policy analyst for the Rand Corporation, has focused her career on studying and writing about the Middle East. She has advised the U. S. Statement Department and other governments. The Fires of Spring is at once a travelogue and a commentary of her findings in the post-Arab Spring, a period of protest and violence that resulted in the deaths of thousands, toppled governments, vicious civil wars and one of the largest mass immigrations in modern times. Culbertson’s writing style is unpretentious and straightforward – a joy to read. Her reporting is objective, all the more laudable given the complexity of the issues and the political cross-currents of the region.Her presentation builds one country at a time, beginning with Tunisia and moving through Turkey, Iraq, Jordan, Qatar and Egypt in that order. Each country, all with Muslim majority, emerges with challenges in common and with problems that are unique to each. Tunisia, for example, is proud that it moved through the turbulence of the Arab Spring without bloodshed. Iraq, by contrast, was torn by wholesale slaughter of its people under Saddam Hussein.Culbertson’s narrative builds on the interviews with leaders and intellectuals of the countries she visits. The extensively quoted texts create immediate credibility. Commentators reflect on their own experience as witnesses to the upheaval. Their accounts are often moving and poignant. To her credit, Culbertson, does not attempt in-depth explanations of the political and religious differences that drive protest and resistance alike. She seeks, instead, the common ground in what many still see as an East-meets-West confrontation.History is key to understanding. For generations, the peoples of the region lived peaceably and tolerant of their diversity as Arabs of the Ottoman Empire. Ottoman rule was autocratic. It set the model of the dictatorships that came to power after World War I. This critical event – the collapse of the Ottoman Empire – brought with it a profound loss that followed Turkey’s defeat. No longer Ottoman Arabs, the people of the region lost their identity,. a loss deeply spiritual and psychological in scope. Inhabitants fell back on what was left to them; namely, tribal, religious, and ethnic identities to set themselves apart from the masses. (See Edward O. Wilson’s The Social Conquest of Earth which argues the sense of belonging and identity is DNA deep in humans.) As one expert suggests, “Identity under the Ottomans was cultural and religious, but never political.” With the political structure crushed, a vacuum was created and cultural identity was all that remained.Emergence of ethnic, tribal and religious differences caused conflict. Western leaders arbitrarily redrew the map for the people whose roots extended back for centuries. Colonial rule replaced the Ottoman governance. Colonial powers saw the Arab population as inferior and finally ceded to pressures to grant independence. The new countries, boundaries drawn without regard for social, economic, cultural, or ethnic differences, were held together by dictatorships, the only form of government known to the citizens. Under dictatorship countries stagnated. Surging interest in oil from the West served to make matters worse for the most part.The Muslim world today is divided between those who insist that nothing new can be introduced into the faith of Islam and those who insist that answers lie not in the past. Arabs experienced government as religious. God governs. To believe in law is to believe in God. To obey the law is to obey God. There is no separation of church and state. While liberal thinking is slowly breaking down these beliefs, polarization is taking place. The extremes of the crisis show up in the barbarism of ISIS and others. Violence is how these groups present their challenge to contemporary liberal thinkers. Middle ground is hard to fine. The most recent constitution adopted by Egypt, for example, recognizes only Islam in creating a state that excludes non-Arabs. Missing entirely is the humanist base of most Western constitutions.The Fires of Spring is a huge first step toward creating better understanding in the world. Culbertson’s reporting on the status of women in Arab countries is also a plus and adds depth to her book. Not to be overlooked are the author’s moving impressions as she strolls the streets of the ancient cities of antiquity, seeks out the poor in the slums, and describes the timeless beauty of the vistas of these legendary lands. The First of Spring is contemporary non-fiction at its best. Mission accomplished, Shelly Culbertson

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File Size: 13826 KB

Print Length: 269 pages

Page Numbers Source ISBN: 039956327X

Publisher: Penguin Press (September 25, 2018)

Publication Date: September 25, 2018

Sold by: Penguin Group (USA) LLC

Language: English

ASIN: B07BD1N3VJ

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The title is misleading, as the author tells two stories and tries to converge them with the latest Louisville scandal and capitalize on the lightning rod that is Pitino's name. The most enjoyable aspects of the book recount the rise of Jurich and the University of Louisville's athletic program from a laughingstock to a multi-million dollar enterprise, where Pitino is a character in the success. The other portion of the book provides solid research into the latest NCAA scandal and dirty games of college basketball recruiting, where Christian Dawkins takes on a persona of a self-important wannabe insider/agent.Overall, the book is a quick and enjoyable read, but the story is shallow for a topic of this magnitude and felt rushed to the printers, as there could have been several additional chapters on the corruption within the recruiting cycle.

Whoever decided to title this book should have realized that Pitino and Christ have little in common after reading the salacious testimony given during his first trial. Nevertheless, Sokolove is pretty evenhanded in his treatment of Pitino who evidently adopted the "I want to know nothing" attitude regarding the money funneled to elite recruits' families from shoe companies through middle men. This has been an open secret to anyone who follows college sports for years. Thanks to the author for helping us understand the present confusing trial. And never fear, fans, we will still be able to wager our 10 billion on the NCAA tourney this year. Neither the NCAA, the universities, the coaches, agents or shoe companies want to break their golden eggs.

As a former professional in a D1 school and parent of a current D1 hoops assistant, I have read this book 3 times as the federal case has progressed. And, I have 'assigned' it to my son and his young cohort of colleagues - in the hopes they remain committed to the STUDENT-athlete but with eyes wide open.

Bought this book for my husband who is from Louisville and used to follow U of L basketball before all the scandals became public knowledge. It arrived at a time when he was swamped with work, but he couldn't resist reading a little of it whenever he had time. He enjoyed it and said he would read it again.

Well written. Good information. Worth the purchase...

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Well researched and detailed. As a college basketball fan, I found the subject matter hard to fathom but necessary to understand about the game I love.

Very good read. Learned a lot of details I didn’t know and great behind the scenes information. This book definitely kept my interest.

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Free Download Lonely Planet Japanese Phrasebook & Dictionary

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Product details

Series: Phrasebook

Paperback: 272 pages

Publisher: Lonely Planet; 9 edition (September 18, 2018)

Language: English

ISBN-10: 9781787014664

ISBN-13: 978-1787014664

ASIN: 1787014665

Product Dimensions:

3.7 x 0.5 x 5.5 inches

Shipping Weight: 4.8 ounces (View shipping rates and policies)

Average Customer Review:

3.8 out of 5 stars

4 customer reviews

Amazon Best Sellers Rank:

#12,235 in Books (See Top 100 in Books)

Don't buy this book if you only planning a short trip to Japan. The layout is too complicated. What you want is a simple phrase book and dictionary. With this book you must first guess which section (food, travel, lodging, etc.) that you think the word may appear. Then hunt for the word in a subsection. Good luck! You won't find words like please, or thank you in the dictionary. Buy this if you plan to move to Japan and want to impress people with phrase construction.

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Product details

Paperback: 376 pages

Publisher: Paul Holberton Publishing (February 19, 2014)

Language: English

ISBN-10: 1907372571

ISBN-13: 978-1907372575

Product Dimensions:

8.5 x 1.1 x 10.2 inches

Shipping Weight: 2.9 pounds (View shipping rates and policies)

Average Customer Review:

3.9 out of 5 stars

6 customer reviews

Amazon Best Sellers Rank:

#330,292 in Books (See Top 100 in Books)

This is an excellent book of an excellent recent Canadian (and shortly Scottish) exhibition. The closest to it is the older "Ruskin and the Victorian Eye" volume. The initial introductory essays are well researched and thoughtful; the catalogue and images of the drawings/paintings are crisp and fine. The exhibition (which I attended) was tightly focussed on the specific drawing and painting aspects of Ruskin's life, so it didn't really deal with the social and political life in any extensive way: nor here (except in the introductory essays) are there any other artists represented (e.g. Turner, the Pre-Raphaelites, or any of the paintings that influenced his life). It is just Ruskin drawing and painting. Happily, this exhibition proves what many of us have known for a long time: Ruskin was a brilliant draftsman, and a pleasure to watch at work (there are also one or two daguerreotypes as well).

This exhibit, "John Ruskin: Artist and Observer" explores in depth the famous and controversial Victorian writer's, theorist's, and social critic's attachment to painting, drawing, and the early use of daguerreotype photography as a means to personal enlightenment and freedom of expression. His vital and continuous quest for observation, artistic practice and exploration remained "at the center of Ruskin's existence."Curators Christopher Newall and Conal Shields along with contributors Christopher Baker and Ian Jeffrey have added tremendous substance, meaning, and insight to this "most ambitious exhibit". It showcases 140 of the most significant and known works by the prolific Ruskin (1819-1900). Perhaps for the first time, visitors to the National Gallery of Canada, Ottowa (Feb.11-May 14, 2014) and those attending the exhibit at the National Gallery of Scotland until Sept. 28, 2014, will obtain the most complete and accurate overview of Ruskin's highly unique and diversified career. Ruskin's reputation and personal involvement was enhanced by his dedication to art production and his lifelong appreciation for subject matter which intrigued him. Ruskin's art became his vivid pictorial commentary on landscape, architecture, the preservation of monuments, and inspirations to be gained from previous teachers and artists in the history of art and culture.In analyzing Ruskin's drawings, the curators define Ruskin's unique output and agendas as that of lyricism and fluidity, meticulous detail, jewel-like colors, the result of an "intense and passionate artistic impulse" and his "prime medium of expression and intellectual development".Throughout his life, John Ruskin saw art as an escape from the confines of his Victorian existence. At the same time, he viewed art making as a "note of fact" concerning thinking, understanding, and educating others about "natural philosophy, the earth sciences and geology."Ruskin's highly skilled draftsmanship and his love of sketching provided him with the greatest source of familiarity and fascination in recording his own experiences, visions and thoughts in highly expressible form. The cultivation of "a constant awareness of all that lay before him" made no subject and no landscape exempt from his reverential and carefully kept journals and travel logs. He equated meticulous detail in the swift gathering and recording of data with the preservation and conservation of the subject under his study. He created an art with a varied purpose for discovery, interpretation, enjoyment, teaching tool, and "poetic commentary." At the same time, Ruskin never intended to be a "professional artist." Rather, "private sensibilities" translated into an enthusiasm for what he personally believed to be beautiful and noteworthy of analysis. For example, he was most passionate about the historic and crumbling monuments of Venice, the majestic Alps, and the quaintness of French cities. A significant portion of this exhibit also examines Ruskin's close communion with his Scottish heritage. He viewed Scotland as a land of infinite "variety and wonder" with "sublime mountainous landscape".An important theme of this exhibit emphasizes that John Ruskin's love of observing and recording nature were directly inspired by his emotional responses to the process of art production. His "highly emotive" personality produced personalized and unique perspectives. Ruskin's art continuously granted highest importance to "seeing and feeling as an artist". Each of his scientific inquires completed in the form of a drawing, a painting, a watercolor or an etching was done with "great exactness and concentration". At the same time, his art was an "emotive view of land, history and culture." He chose to equate, define, and celebrate both the personal view of nature and the objective view of nature without "boundaries." He rejected nothing from it. This all-encompassing view and freedom to explore the natural environment remained Ruskin's significant means for achieving a necessary and "intense scrutiny of the mysteries of nature."The exhibit also emphasizes that Ruskin's "sensitivity" as an artist made him appreciate the power and influence of other artists as teachers. He greatly admired the work of J.M.W. Turner , the "affective power of color" in Titian and Tintoretto, and the work of the Northern Renaissance artist known for his distinctive art and precise nature studies, Albrecht Dürer.Additionally, the exhibit points out that Ruskin approached the new medium of photography with considerable enthusiasm when recognizing its utility and ability to "mirror or capture nature" in all of its details and subtleties. In his quest for truth, Ruskin used photography as a means of enhancing the reality which he wished to convey and record. Between 1845 and 1858, Ruskin had amassed a collection of more than 320 daguerreotypes.He claimed that the daguerreotype possessed an unexpected disclosure for fixing and focusing on the minute aspects of an image that could not be achieved by an ordinary and shorthand sketch. For him, it was ideally suited to static and detailed subject matter under his careful observation. Examples of such subjects presented in this exhibit include daguerreotypes of architectural details, monuments, and landscapes made throughout his frequent and consistent travels to Italy, Switzerland, and France.Ultimately, an important aspect of this exhibit substantiates Ruskin's creativity and facility with a variety of media.The exhibit highlights his courage to embrace a modern method and distinctive style of working despite the skepticism and criticism of his age. In so doing, John Ruskin engaged in practical and accurate methods for understanding the world as a way to conserve it nostalgically for future generations.

This is a superb exhibition catalogue of Ruskin's drawings and watercolours.I grew up with a bit of a dislike of various Victorian Artists ( some but not all )I bought a number of art books and the booksellers I frequented would have a copy of Ruskin's complete works in 30 volumes or so. I was never temperedMy interest is in Master Drawings.Some who were around before Ruskin where are, Rossetti and the Pre - Raphaelite movement influenced him.Ruskin 1819-1900William Blake. 1757- 1829John Constable 1776-1827JMWTurner 1775-1851Dante Gabriel Rossetti 1828-1882.One reviewer said Ruskin couldn't draw.That is his opinion.However to understand an artist you must set the artist in the context of their times.The age of Blake, Constable and Turner was in the past.Ruskin had a deep love for Turner. At various stages of his life he owned some 300 works by Turner ( mainly watercolours ). Oxford Companion Turner page 275 second column at bottom of pageHe bequested some 100 drawings and watercolours to the Ashmolean Oxford- see details on major collections of Turner at the back of this book.After Turner's death he offered and was accepted by the National Gallery London to sort through and classify some 10,000 Turner drawings and Watercolours ( see the Ruskin article mentioned above)So Ruskin was deeply influenced by Turner.You see it is some of the works but not in others. Remember he was reproding to Pre- Raphaelitism and had a Pre Gothic vision.What he really loved were early churches or Gothic Ruins, or elements of Gothic Architecture.Some of the drawings show his mastery of third demensional space-see especially :No 18. The Piazzetta and St Mark's Venice, 1835A number of drawings are of architecture - mainly Gothic.Venice and it's architecture features including Byzantine elements.Then there are a moderate number of watercolours that remind me of Turner, they aren't Turner's but Ruskin has refracted all he has seen in Turner and given his very personal take on the scenes.Look at the ratings, remember Ruskin was sorting through some 10,000 Turner Drawings and Watercolours. Turner's work is both vast, and very variable. That is not a judgement on quality. Like Rembrandt Turner could bring the profoundest judgement to bear in a composition.Style was in the service of profound composition.Also like Rembrandt Turner was always experimenting.Ruskin very hit those dizzying heights, but off hand I cannot think of an English artist of his time that did.This book is a visual feast of excellent drawings and watercolours.I warmly commend it.Note.It is hard when you are starting out to get a feel for drawings and watercolours.They are frail and light sensitive.If there is an exhibition in your area, go to it if you can. There is nothing like seeing the drawings and watercolours face to face.As they are frail and light sensitive they usually are stored away for 10-30 years before the next show. Yes some are lent to this exhibition and that but you would see this exhibition or any of it's mates in a hurry. To preserve the drawings and watercolours they are nurtured with care.so number one, try to see some drawings in the freshYou may wait for an exhibition of an artist you like,You may be lucky, but to be honest you are likely to wait a long time.Yes the big names come around frequently. In part that is due to The great generosity of the World's great print rooms. They have to very carefully manage there loans, because there are both many requests and their is the issue of the fragility of paper and it's light sensitivity.So, personally ( for what it is worth ) I would strongly suggest if you have an interest in drawings go to those that are near by and that you can afford to get to.Use every exhibition as to learn to train your eye.( yes background knowledge helps, but learning to slow down and just look, draw in the details, see how they relate or don't relate to each other.)The same points go for reading catalogues.Final point.I have spent 20-25 years looking at thousands of master drawings in booksMy loves are Rembrandt, Leonardo, Durer, Raphael.The names don't really matter.If all drawings looked like Rembrandt's or Leonardo's I would be deeply visually bored.I sort to see every drawing I could face to face will working in the UK. It was a sizeable number.For those who got the wrong book.john RuskinThe Elements of DrawingIllustrated edition with notes by Bernard DunstanThe Herbert Press London 159 pp

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