The Arts and Crafts Movement Came About as a Reaction to
St. Cecilia Window (1903)
Second Presbyterian Church, Chicago.
Stained glass designed past Edward
Burne-Jones, and installed past
William Morris & Co.
Arts and Crafts Motility (c.1862-1914)
Contents
• Origins, History, Members
• Aims, Aesthetics and Ideals
• William Morris
• The Red House
• Morris, Marshall, Faulkner & Co
• Credo Not Blueprint
• Architecture
• Organizations
• Arts and Crafts in America
• Craft beyond Europe
• Collections
Sir Tristram and la Belle Ysoude.
Bradford Art Gallery
Designed past Dante Gabriel Rossetti.
One of a set up of 13 glass panels
made by Morris, Marshall, Faulkner
& Co for Harden Grange.
Replica of the Bayeux Tapestry (1075)
Museum of Reading, Berkshire.
Made in 1885 by William Morris, along
with textile maker Thomas Wardle,
his married woman Elizabeth, and thirty
female embroiderers.
Origins, History, Members
One of the about influential of modern fine art movements, the Arts and Crafts Motion was established in U.k. virtually 1862 by the artist and medievalist William Morris (1834-96), in response to the negative social and aesthetic consequences of the Industrial Revolution. The movement took its name from the Craft Exhibition Guild, set upward in 1888, although its origins went back to the negative sentiment generated past the Great Exhibition of 1851, which was ably articulated by the art critic John Ruskin (1819-1900). His ideas on the demand to preserve individual adroitness and blueprint had a major touch on William Morris, who founded the design firm of Morris, Marshall, Faulkner & Co to recreate transmission adroitness in the era of mass production. Although Morris'south firm was a commercial success, just rich people could afford his designs. However, his ideas had a strong impact on numerous designers, manufacturers and practitioners of Victorian art, and led to the creation of several organizations to promote Craft ideas, such as the Art Workers Club (1884). The Arts and crafts Movement was primarily concerned with architecture and the decorative arts, including stained glass, wallpaper, textiles, furnishings, printed fabrics (chintzes), tapestry fine art, furniture, wood carving, metalwork, ceramics, jewellery and mosaic art. Other artists and designers associated with the Arts and crafts Movement include the painters Edward Burne-Jones (1833-98), Dante Gabriel Rossetti (1828-82), Ford Madox Chocolate-brown (1821-93) and the Scottish muralist John Duncan (1866-1945), the ceramicist William de Morgan (1839-1917), the illustrator Aubrey Beardsley (1872-98), the designers Philip Webb (1831-1915), Charles Francis Annesley Voysey (1857-1941) and Charles Ashbee (1863-1942), the architects Richard Norman Shaw (1831-1912), Edward William Godwin (1833-86), and WR Lethaby (1857-1931). The Arts & Crafts Movement opened the door for Fine art Nouveau in Europe (1890-1905), the modernist designs of Swiss architect Le Corbusier (1887-1965), Walter Gropius (1883-1969) and his Bauhaus Design School in Germany (1919-33) and the Union des Artistes Modernes (UAM) in France. It als influenced C.R.Mackintosh and the Glasgow School of Painting: 1880-1915. (Encounter also Crafts: History, Types.)
EVOLUTION OF VISUAL Art
For details of art movements
and styles, meet: History of Art.
For a quick guide to specific
styles, see: Art Movements.
WHAT IS Fine art?
For a guide to the meaning,
of the visual arts, see:
Definition of Art.
CATEGORIES OF VISUAL ARTS
Definitions, forms, styles, genres,
periods, meet: Types of Art.
Aims, Aesthetics and Ideals
The Arts and crafts movement was a social/creative movement of modern art, which began in Britain in the 2d half of the nineteenth century and connected into the twentieth, spreading to continental Europe and the USA. Its adherents - artists, architects, designers, writers, craftsmen and philanthropists - were united by a common set of aesthetics, that sought to reassert the importance of pattern and craftsmanship in all the arts in the face of increasing industrialization, which they felt was sacrificing quality in the pursuit of quantity. Its supporters and practitioners were united not and then much past a way than past a mutual goal - a desire to break downward the hierarchy of the arts (which elevated fine art like painting and sculpture, but looked downwardly on applied art), to revive and restore dignity to traditional handicrafts and to make fine art that could be affordable for all.
William Morris
The leading champion of the Arts and Crafts movement was the designer, painter, poet and social reformer William Morris. A passionate Socialist, Morris proclaimed, "I do not want fine art for a few, whatever more than I want freedom for a few." Drawing on the ideas of the builder Augustus W.Due north. Pugin (1812-52), who proselytized the moral superiority of the fine art of the Eye Ages, and the art critic and writer John Ruskin (1819-1900), who denounced the greed and cocky-interest of contemporary capitalist society, Morris developed the view that art should exist both beautiful and functional. His ideal, the pure and simple beauty of medieval adroitness, was further strengthened by his friendships with members of the Pre-Raphaelite Brotherhood similar Edward Burne-Jones and Dante Gabriel Rossetti, who as well looked to the Center Ages (hence the term 'Pre-Raphaelite') for aesthetic inspiration and moral guidance. Run into as well: Medieval Sculpture and Medieval Artists.
The Crimson House
The Red House (1859), Morris's domicile in Bexley Heath, Kent, marked the emblematic start of the movement. Morris commissioned it from his friend, the architect Philip Webb, for himself and his new bride. The red brick house (hence the proper noun), with its gratis-flowing design, the absenteeism of pretentious facades, the concern for structure and sensitivity to local materials, traditional building methods and the particularities of location, is a landmark in the domestic revival movement in Victorian architecture (1840-1900). Morris himself designed the garden, and the interior was fitted and decorated past Webb, the Morrises, Rossetti and Burne-Jones, resulting in what Rossetti described every bit 'more a poem than a house'. Information technology is, in fact, the primeval example of the concept of a 'total work of art' (gesamtkunstwerk) that would get cardinal non only to the Arts and Crafts philosophy, merely to many other movements, among them Fine art Nouveau, the Bauhaus and Art Deco.
Morris, Marshall, Faulkner & Co
The Red House project amid friends soon led to a commercial venture. In 1861 Morris, Webb, Rossetti, Burne-Jones, painter Ford Madox Brownish, surveyor P P Marshall and accountant Charles Faulkner founded the manufacturing and decorating firm of Morris, Marshall, Faulkner & Co (after Morris & Co.). The anti-industrial structure of the firm was based on the concept of medieval guilds, in which craftsmen both designed and executed the work. Its aim was to create cute, useful, affordable, applied-fine art objects, and so that art would be a lived experience for all, not merely the affluent. The members of the visitor turned their hands to designing and producing domestic objects, including piece of furniture, tapestry, stained glass, jewellery, furnishing fabrics, carpets, tiles and wallpaper.
Ideology Not Blueprint
Yet, the major innovation of the Arts and Craft movement was in their ideology, not in their style or design, which harked back to medieval architecture and tapestries, illuminated manuscripts and rustic styles of decoration and article of furniture. Tellingly, their themes and subjects were often drawn from Arthurian fable or the poetry of 14th-century poet Geoffrey Chaucer. Moreover, though the movement was successful in raising the condition of the craftsman and promoting respect for native materials and traditions, it failed to produce fine art for the masses: its handmade products were expensive. Past the 1880s one could live in a house designed by Webb, decorated with Morris wallpaper, with ceramics by William de Morgan and paintings by Burne-Jones, while wearing clothing based on Pre-Raphaelite dress - but just if one was wealthy. Morris himself is best known for his use of flat, formal pattern designs for wallpaper and tiles characterized past a richness of color and complication of blueprint. The flowing, dynamic line of such designs, particularly those of 2nd-generation designers Arthur Heygate Mackmurdo (1851-1942) and Charles Voysey (1857-1941), would later influence the international Art Nouveau, in which designers would develop the look without its social program.
Architecture
The architecture of the Craft Motion was its most radical and influential aspect, and architects such as Webb, Voysey, G. H. Baillie Scott (1865-1945), Norman Shaw (1831-1912) and Charles Rennie Mackintosh, developed principles which non just influenced 19th century compages simply would later become the touchstones of twentieth-century architects. These included the belief that blueprint should exist dictated by function, that vernacular styles of architecture and local materials should exist respected, that new buildings should integrate with the surrounding landscape, and that freedom from historicist styles was essential. The result was a number of buildings - especially houses for the middle class - that architectural historian Nikolaus Pevsner called 'fresher and more aesthetically adventurous than anything done at the aforementioned time abroad'. These architectural canons fed the growing Garden City movement in Britain in the early twentieth century, which brought together on a large calibration Arts and crafts design and Morris'south social reform ideals. The Garden City movement was based on the theories of Ebenezer Howard (1850-1928), every bit put forward in his highly influential book, Tomorrow: a Peaceful Path to Real Reform, 1898 (later revised equally Garden Cities of Tomorrow in 1902). Howard's social policies advocated the cosmos of small, economically self-sufficient cities throughout the country, with the aim of halting urban sprawl and overcrowding. Numerous such cities were congenital, with varying degrees of success, and the ordinary home became the focal point of progressive architects throughout the country.
Arts and Crafts Organizations
The Arts and crafts motion encompassed other English guilds of architects and designers. The Century Guild (founded in 1882 every bit a democratic collective) included equally its members Mackmurdo and Selwyn Image (1849-1930), who besides produced a journal, The Hobby Horse (1884-92). The Art Workers' Lodge (founded 1884) included William Lethaby (1857-1931) and Voysey amongst its members; its aims were 'to advance education in all the visual arts and to foster and maintain high standards of blueprint and adroitness'. The recognition that public exposure was essential to reach their educational goals and commercial survival (the London Regal University did not exhibit decorative arts) prompted the establishment of the Arts and Crafts Exhibition Gild in 1888 past a number of second-generation practitioners, with Walter Crane (1845-1915) as its beginning president. Ane of its members, T. J. Cobden-Sanderson (1840-1922), who coined the proper noun for the movement in 1887, defined its cadre aim as bringing 'all the activities of the man spirit under the influence of one idea, the idea that life is creation'. In 1893 the magazine The Studio was launched to spread the message and the designs of the Arts and Crafts movement throughout Britain, Europe, and the USA. Arts and crafts workshops based on their British counterparts were formed in the U.s. in the tardily nineteenth century. The aesthetic of simple, unadorned furniture designs of Gustav Stickley (1857-1942) and his workshop, promoted through the periodical The Craftsman (1901-sixteen), remains popular today. Simplicity, utility and 'honest' construction were the key concepts backside the designs. Unlike Morris, Stickley did non reject mass production. His products, more accessible and affordable than Morris's, were bachelor in department stores or past mail order from catalogues, and could even be made at home from designs and instructions published in The Craftsman.
Arts and crafts in America
Arts and Crafts architectural guidelines - employ of the colloquial, local materials and craft traditions - also flourished in America, encouraging a multifariousness of regional domestic architecture. The exquisitely crafted homes and accompanying article of furniture designed past the brothers Charles (1868-1957) and Henry (1870-1954) Greene in Pasadena and Los Angeles, California, epitomize the refined West Coast variant of American Arts and Crafts architecture. But the dominant figure in American domestic architecture of the early twentieth century was Frank Lloyd Wright (1867-1959). His Prairie Houses, situated exterior Chicago, featuring their distinctive horizontality, overhanging roofs and complimentary-flowing rooms effectually a cardinal chimney, bear witness a potent Arts and Crafts influence. Wright, like many other Arts and crafts architects embraced the concept of 'total design' and frequently designed built-in furniture to control the interiors. Other popular Prairie Schoolhouse architects included William Gray Purcell (1880-1965) and George Grant Elmslie (1871-1952).
Craft across Europe
Arts and crafts aesthetics and ethics were also particularly successful in Frg, Republic of austria, Hungary and Scandinavia with their strong craft traditions which continue today. Arts and Crafts principles were allied to car production and used as an expression of national identity. Folk art was revived, equally were native types of medieval architecture. The Arts and Crafts-inspired revival of interest in domestic architecture, later spread to Europe. The English language House (1904-5) past German language architect Hermann Muthesius (1861-1927), also associated with the Deutscher Werkbund, and exhibitions hosted by Les Vingt and its successor, La Libre Estherique, in Brussels, introduced the new British style to a Continental public. The major figures in Republic of finland included the artist Akseli Gallen-Kallela (1865-1931) and the architect Eliel Saarinen (1873-1950); in Sweden the artist Carl Larsson (1853-1919); in Hungary Aladar Korosfoi-Kriesch (1863-1920); and in Austria, Josef Hoffmann (1870-1956, see besides Vienna Secession) and Koloman Moser (1868-1918). The ideals of the Arts and Crafts movement were as well the footing of many German Jugendstil workshops, the Munich Secession motion (1892), and the Berlin Secession (1898). and eventually the Bauhaus design school, which would also strive to unite fine and practical arts in a principle of full blueprint. When the Arts and crafts movement began to lose impetus, effectually the time of Globe War I, the precepts 'fitness for purpose' and 'truth to materials' continued to be influential. More than recently the craft ideal of the Arts and Crafts motility lies behind the ascent of the designer-maker, and since the 1950s, the Crafts Revival in U.k., the USA and Scandinavia.
Collections
Artworks associated with the Arts and Crafts Movement Arts can exist found in several of the best art museums in Europe and America, notably the Musee d'Orsay (Paris); the Tate Gallery, the Victoria & Albert Museum and the William Morris Gallery (all in London), the Metropolitan Museum of Fine art (New York) and the Virginia Museum of Fine Arts (Richmond).
REFERENCES
We gratefully admit the use of material from the seminal work on modern art Styles, Schools and Movements past Amy Dempsey (Thames & Hudson, 2007), a publication nosotros strongly recommend for whatever serious students of art history during the modern era.
Source: http://www.visual-arts-cork.com/history-of-art/arts-and-crafts.htm