John Ruskin stands as one of the most influential art critics of Victorian England, renowned for intertwining art with the moral ethos of the society that produced it. His evaluations were deeply rooted in the evangelical Christian beliefs he embraced from an early age. Despite this moralistic approach, his profound admiration for art and nature, inspired by his father and the works of Romantic poets, colored all his writings.

Early Life and Influences

Born on February 8, 1819, in London, Ruskin came from modest beginnings. His father, a prosperous partner in a wine business, introduced him to art during numerous trips across Europe. These journeys allowed father and son to amass an impressive art collection, with a particular fondness for J. M. W. Turner’s works. Turner’s early, less acclaimed pieces heavily influenced Ruskin, prompting him to start his significant work, Modern Painters, at just 23. The five-volume set, published between 1843 and 1860, marked the beginning of Ruskin's impact on art criticism, complemented by works like The Seven Lamps of Architecture (1849) and The Stones of Venice (1851-53).

Shift to Social Critiques

Post-1860, Ruskin's focus shifted increasingly towards social issues, particularly targeting the detrimental effects of industrialization. While social critique was present in earlier works, his later writings such as Unto This Last (1860) and Fors Clavigera (1880) directly challenged the prevailing economic practices of his time. Ruskin critiqued the dehumanizing nature of capitalism, advocating for a return to medieval societal structures where Christian values guided labor relations. Yet, as England's industrial prowess grew, his ideas seemed outdated and eccentric, leading to his alienation from mainstream society.

Personal Struggles and Mental Health

Despite his professional achievements, Ruskin faced considerable personal challenges. An only child, his overbearing parents, especially his mother, instilled in him a strict religious upbringing that left him vulnerable to mental instability. From 1870 until his death in 1900, he endured severe mental breakdowns, with his troubled relationships adding to his distress. His relationship with Adele Domecq at Oxford ended in heartbreak, contributing to his first major health collapse. A subsequent trip to Europe with his parents was intended as a cure.

In 1848, Ruskin married Effie Gray, but their union was annulled six years later due to non-consummation, a scandal that deeply affected him. Afterward, Effie wed John Millais, a Pre-Raphaelite painter, furthering Ruskin's public humiliation. Later, Ruskin formed a tragic attachment to Rose La Touche, meeting her when he was nearly forty and she was only nine. He proposed when she reached eighteen, but she rejected him partly due to his wavering from evangelical beliefs. Rose herself succumbed to mental illness and died at 25, a loss that haunted Ruskin.

Continued Work Amidst Decline

Despite personal and public setbacks, Ruskin remained prolific, continuing to write and lecture extensively. However, his later years were marred by recurrent episodes of mental illness, characterized by hallucinations and a fixation on damnation. He gravitated back to his evangelical roots as he aged, but his deteriorating mental state led him to foresee apocalyptic events, believing them heralded by the “storm cloud” and “plague wind” he claimed to witness over England. His 1884 lecture, "The Storm Cloud of the Nineteenth Century," reflects both his fascination with these phenomena and his mental decline.

Though some late writings betray his mental struggles, they also poignantly address a theme still relevant today: the destruction of nature’s beauty by industrial pollution. Ruskin’s legacy, despite the turbulence of his personal life, remains a testament to his enduring advocacy for the intersection of art, nature, and morality.