expressive, Idealistic, and emotional nuances of Romantic art. A similar, though more muted, debate also occurred in England. One of the prominent critics in England at the time was William Hazlitt, a painter and essayist. He wrote about his deep pleasure in art and his belief that the arts could be used to improve mankind's generosity of spirit and knowledge of the world around it. He was one of a rising tide of English critics that began to grow uneasy with the increasingly abstract direction J. M. W. Turner's landscape art was moving in. One of the great critics of the 19th century was John Ruskin. In 1843 he published Modern Painters, which repeated concepts from "Landscape and Portrait-Painting" in The Yankee (1829) by first American art critic John Neal in its distinction between "things seen by the artist" and "things as they are." Through painstaking analysis and attention to detail, Ruskin achieved what art historian E. H. Gombrich called "the most ambitious work of scientific art criticism ever attempted." Ruskin became renowned for his rich and flowing prose, and later in life he branched out to become an active and wide-ranging critic, publishing works on architecture and Renaissance art, including the Stones of Venice. Another dominating figure in 19th-century art criticism, was the French poet Charles Baudelaire, whose first published work was his art review Salon of 1845, which attracted immediate attention for its boldness. Many of his critical opinions were novel in their time, including his championing of Eugène Delacroix. When Édouard Manet's famous Olympia (1865), a portrait of a nude courtesan, provoked a scandal for its blatant realism, Baudelaire worked privately to support his friend. He claimed that "criticism should be partial, impassioned, political— that is to say, formed from an exclusive point of view, but also from a point of view that opens up the greatest number of horizons". He tried to move the debate from the old binary positions of previous decades, declaring that "the true painter, will be he who can wring from contemporary life its epic aspect and make us see and understand, with colour or in drawing, how great and poetic we are in our cravats and our polished boots". In 1877, John Ruskin derided Nocturne in Black and Gold: The Falling Rocket after the artist, James McNeill Whistler, showed it at Grosvenor Gallery: "I have seen, and heard, much of Cockney