AGAINST RUSKIN Joseph and Elizabeth Pennell’s recasting of Venice [Received August 28th 2020; accepted March 1st 2021 – DOI: 10.21463/shima.116] William Bainbridge University of Hertfordshire, UK <
[email protected]> ABSTRACT: The images of Venice by Philadelphian Joseph Pennell (1857-1926) have never really escaped from James McNeill Whistler’s long shadow. His etchings, drawings, pastels, and lithographs all show the influence of the master. Together with his wife, Elizabeth Robins Pennell (1855-1936), he would publish a two-volume biography of his friend (1908). Their allegiance to Whistler and the Barbaro Circle brought the Pennells to endorse a new image of Venice away from the hegemonic cult of Ruskin pervasive in tourist and travel books about the city. This article seeks to reassess the contribution of both Pennells to this group of erudite intellectuals and reconsider their promotion of a more truthful and intimate representation of Venice beyond the mass of tourists and polished marble façades. Its special focus is on the Pennells’ – Elizabeth’s in particular – antagonistic relationship with Ruskin, whose iconic The Stones of Venice had mourned a city forever lost to tourists, over- restoration, and the onslaught of the railroad. KEYWORDS: Joseph Pennell, Elizabeth Pennell, John Ruskin, James McNeill Whistler, John Singer Sargent Introduction Ruskin’s The Stones of Venice (1851-1853) classically formulates a strong argument against the destruction wrought upon the aesthetic and environmental integrity of the maritime city in the 19th Century. Chief among Ruskin’s concerns were those damaging forces linked to the onslaught of mass tourism and the railroad.1 While promoting Venice as a tourist destination in its own right, however, Ruskin also argued that it was precisely tourism that was responsible for the city’s demise (Hanley, 2010).