Movement Arts and Crafts is an international movement in decorative arts and art that began in England and developed in Europe and North America between about 1880 and 1920, appeared in Japan (Mingei movement) in the 1920s.. It stands for traditional craftsmanship using simple forms, and is often used medieval, romantic, or folk decorating style. It advocates economic and social reforms and is essentially anti-industrial. It had a strong influence on art in Europe until it was moved by Modernism in the 1930s, and its influence continued in the craft makers, designers, and city planners shortly thereafter.
The term was first used by T. J. Cobden-Sanderson at the Arts and Crafts Community Arts meeting in 1887, although its principles and style were based in Britain for at least twenty years. It was inspired by the ideas of architects Augustus Pugin, author John Ruskin, and designer William Morris.
This movement developed the earliest and most complete in the British Isles, and spread throughout the British Empire and throughout Europe and North America. It was largely a reaction to the conditions of poorly decorative art at the time and the conditions in which they were produced.
Video Arts and Crafts movement
Origin and influence
Design Reform
The Movement of Arts and Crafts emerged from attempts to reform the design and decoration in the mid-19th century England. It was a reaction to the decline in standards felt by reformers associated with machinery and factory production. Their criticism was sharpened by the items they saw in the Great Exhibition of 1851, which they regarded as exaggerated, artificial and unfamiliar with the quality of materials used.
Art historian Nikolaus Pevsner said that the exhibition at the Great Exhibition shows "ignorance of the basic necessities of creating patterns, surface integrity" and "vulgar in detail". The design reforms began with the organizers of the Exhibition itself, Henry Cole (1808-1882), Owen Jones (1809-1874), Matthew Digby Wyatt (1820-1877) and Richard Redgrave (1804-1888), who no longer used excessive ornaments and practical. and things are made badly. Organizers "agreed in their condemnation of the exhibition." Owen Jones, for example, complained that "architects, furniture makers, paper stylers, weavers, heatmakers, and pottery makers" produce "artistic novelty without beauty, or beauty without intelligence." From these criticisms to the contemporary state of manufactured goods emerges several publications that define what the authors consider to be true design principles. Richard Redgrave's Additional Design Report (1852) analyzes the principles of design and ornament and begs for "more logic in the application of decoration." Other works are followed in the same vein: Wyatt Nineteenth Industrial Art (1853), Gottfried Semper
Jones states that "Ornaments... should be secondary to the decorated thing", that there should be "fitness in ornaments for decorations," and that wallpaper and carpets should not have any "suggestive but level or plain" pattern. When a cloth or wallpaper at a Great Exhibition may be decorated with natural motifs made to look as real as possible, these authors advocate natural, flat, simplified motifs. Redgrave insists that "style" demands sound construction prior to ornamentation, and a proper awareness of the quality of materials used. " Utility should take precedence over ornamentation."
However, the design reformers of the mid-19th century did not go as far as the designers of the Arts and Crafts Movement: they were more concerned with ornamentation than construction, they had an incomplete understanding of the method of manufacture, and they did not criticize the industry. such methods. In contrast, the Arts and Crafts movement is a social reform movement as a design reform and the main practitioners do not separate the two.
A. W. N. Pugin
Some ideas of the movement were anticipated by A.W.N. Pugin (1812-1852), a leader in Gothic revival in architecture. For example, he, like Art and Crafts artists, advocates the truth on matter, structure, and function. Pugin articulates the tendency of social criticism to compare the mistakes of modern society (such as the expansive growth of the city and the treatment of the poor) with medieval times, a tendency that becomes routine with the Ruskin movement, Morris and Arts and Crafts.. His book John Ruskin
The Philosophy of Arts and Crafts is largely derived from the social criticism of John Ruskin, which links the moral and social health of a nation with its architectural qualities and the nature of its work. Ruskin (1819-1900) considers the type of mechanical production and division of labor that has been created in the industrial revolution into "labor slavery" and he thinks that a healthy and moral society needs independent workers who design the things they make. His followers loved the production of handicrafts on top of industrial manufacturing and worried about the loss of traditional skills, but they were arguably more disturbed by the effects of the plant system than by the machines themselves and William Morris's idea of ​​"crafts" basically works without any division of labor. than working without any machine.
William Morris
William Morris (1834-1896), a towering figure in the late 19th century design, was a major influence on the Arts and Crafts movement. The aesthetic and social vision of the Arts and Crafts movement stems from the ideas he developed in the 1850s with a group of students at Oxford University, who combine the love of Romantic literature with a commitment to social reform. In 1855 they had found Ruskin and, believing there was a difference between the barbarity of contemporary art and painters preceding Raphael (1483-1530), they formed themselves into the Pre-Raphael Brotherhood to pursue their artistic goals. Medievalism from Mallory's Morte d'Arthur sets the standard for their early style. In the words of Edward Burne-Jones, they intended to "wage a holy war against the times".
Morris began experimenting with various crafts and designing furniture and interiors. He is personally involved in the making as well as the design, which characterizes the Arts and Crafts movement. Ruskin argues that the separation of the intellectual acts of the design from the manual of the physical creation of the social and the aesthetic is destructive; Morris developed this idea, insisting that there was no work to be done in the workshop before he personally mastered the right techniques and materials, arguing that "without dignity, human creative workers become disconnected from life".
In 1861 Morris began making furniture and decorative objects commercially, modeling his designs on medieval style and using thick and strong shapes. Its patterns are based on flora and fauna and its products are inspired by the vernacular or domestic traditions of the English countryside. To showcase the beauty of materials and works of craftsmen, some deliberately left unfinished, creating a rough appearance. Truth to material, structure, and function characterizes the Art and Craft movement.
Maps Arts and Crafts movement
Social and design principles
Industry critic
William Morris shared Ruskin's critique of industrial society and at one time or another attacked the modern factory, the use of machinery, the division of labor, capitalism and the loss of traditional craft methods. But his attitude towards the machine is inconsistent. He said at one point that production by machines was "utterly evil", but in others he was willing to work commissions from producers who were able to meet his standards with the help of machines; and he says that, in a "real society", where there is no luxury or cheap waste, machines can be repaired and used to reduce working hours. Fiona MacCarthy said that "unlike future fanatics like Gandhi, William Morris has no practical objections to the use of machines per se as long as machines produce the qualities he needs."
Morris insisted that artists should be craftsmen working hand-in-hand and advocating for free craftsmen, as he believed to have existed during the Middle Ages. "Because the craftsmen enjoy their work," he writes, "The Middle Ages were a period of great ordinary folk art... The treasure in our museum is now only the common appliances used in households at that age, when hundreds of medieval churches - each - a masterpiece - built by unsophisticated farmers. "Medieval art is a model for many Arts and Crafts designs and medieval life, literature and buildings idealized by movement.
Morris followers also have different views about machines and factory systems. C. Ashbury, for example, a central figure in the Arts and Crafts Movement, said in 1888 that, "We do not reject the machine, we welcome it, but we want to see it overrun." After failing to pit the Guild and School of Handicraft guilds with modern manufacturing methods, he acknowledged that "Modern civilization relies on machines", but he continues to criticize the destructive effects of so-called "mechanisms", saying that "Certain production of mechanical Commodities is as bad as health national as well as the production of cane goods or slave-ridden children. "William Arthur Smith Benson, on the other hand, has no qualms about adapting the Art and Craft styles to metals manufactured under industrial conditions. (See the citation box.)
Morris and his followers are convinced the division of labor in which the modern industry depends is undesirable, but the extent to which any design should be done by the designer is a matter of debate and disagreement. Not all Art and Craft artists perform at every stage in the making of the goods themselves, and it is only in the 20th century that is important for the definition of expertise. Although Morris is famous for gaining direct experience from many handicrafts (including weaving, dying, printing, calligraphy and embroidery), he does not regard the designer and executive splits in his factory as a problem. Walter Crane, a political associate close to Morris, took an unsympathetic view of the division of labor on moral and artistic grounds, and strongly advocated that design and manufacture should come from the same hand. Lewis Foreman Day, a friend and contemporary of Crane's, just like Crane in his admiration for Morris, disagrees with Crane. He thinks that the separation of design and execution is not only inevitable in the modern world, but also that only specializations allow the best in design and the best in making. Some founders of the Arts and Crafts Exhibition Society insist that the designer must also be the author. Peter Floud, writing in the 1950s, said that "The founders of the Society... never implemented their own design, but always turned it into a commercial enterprise." The idea that designers should be designers and designers is derived "not from Morris or the early teaching of Arts and Crafts, but rather from the second generation of elaboration doctrines worked on in the first decade of the [twentieth century] by such people as WR Lethaby."
Socialism
Many designers of the Arts and Crafts Movement are socialists, including Morris, T. J. Cobden Sanderson, Walter Crane, C.R.Ashbee, Philip Webb, Charles Faulkner and A.H.Mackmurdo. In the early 1880s Morris spent more time on socialist propaganda than designing and making. Ashbee founded a crafts community, the Crafts Guild, in east London, then moved to Chipping Campden. Non-socialists, for example, Alfred Hoare Powell, advocate a more humane and personal relationship between employers and employees. Lewis Foreman Day, a highly successful and influential Art and Craft designer, is also not a socialist, despite his long friendship with Crane.
Association with other reform movements
In Britain this movement is associated with reform of clothing, countryside, garden city movements and the rise of folk songs. All related, in some degree, by the ideal of "Simple Life". In continental Europe this movement is associated with the preservation of national traditions in development, applied arts, design and domestic costumes.
Development
Morris's design quickly became popular, attracting interest when his company's work was exhibited at the 1862 International Exhibition in London. Many Morris & amp; The initial work of Co was for churches and Morris won important interior design commissions at St James's Palace and South Kensington Museum (now the Victoria and Albert Museum). Then his work became popular with the middle and upper classes, despite his desire to create democratic art, and by the end of the 19th century, the design of Arts and Crafts in domestic houses and interiors was the dominant style in England, copied in products made by industrial method conventional.
The spread of ideas of Arts and Crafts during the late 19th and early 20th centuries resulted in the formation of many associations and craft communities, although Morris had little to do with them because of his preoccupation with socialism at the time. One hundred and thirty Arts and Crafts organizations were formed in England, mostly between 1895 and 1905.
In 1881, Eglantyne Louisa Jebb, Mary Fraser Tytler and others initiated the Association of Home and Industrial Art to encourage the working class, especially those living in rural areas, to take the craft under supervision, not for profit, but to provide them with rewarding work and to improve their tastes. In 1889 it had 450 classes, 1,000 teachers and 5,000 students.
In 1882, architect A. H.Mackmurdo formed the Century Guild, a designer partnership including Selwyn Image, Herbert Horne, Clement Heaton, and Benjamin Creswick.
In 1884, the Union of Art Workers was initiated by five young architects, William Lethaby, Edward Prior, Ernest Newton, Mervyn Macartney and Gerald C. Horsley, with the aim of bringing together fine and applied art and enhancing the latter's status. It was originally directed by George Blackall Simonds. In 1890, the Guild had 150 members, representing an increasing number of practitioners of the Arts and Crafts style. It's still there.
London Liberty & amp; Co., established in 1875, is a leading freight forwarder in style and "artistic dress" favored by followers of the Arts and Crafts movement.
In 1887, the Community Arts and Crafts Exhibition, which gave the name for the movement, was formed with Walter Crane as president, holding his first exhibition at New Gallery, London, in November 1888. This is the first contemporary decorative art show in London since the Season Exhibition Cold Gallery Grosvenor year 1881. Morris & amp; Co is well represented in the exhibition with furniture, fabrics, carpets and embroideries. Edward Burne-Jones observes, "here for the first time one can measure the slightest change that has occurred in the last twenty years". Society still exists as Designer Crafts Society.
In 1888, C.R.Ashbee, a great final practitioner of style in England, founded Guild and School of Handicraft in the East End of London. Gilda is a craft cooperative that is modeled on the medieval guild and is meant to give men the satisfaction of working in their skills. Skilled craftsmen, who work on the principles of Ruskin and Morris, are to produce handicraft items and manage schools for apprentices. The idea was greeted enthusiastically by almost everyone except Morris, who is now involved with promoting socialism and regards the trivial Ashbee scheme. From 1888-1902 the guild prospered, employing about 50 people. In 1902 Ashbee moved the guild from London to start an experimental community at Chipping Campden in the Cotswolds. Guild work is characterized by a plainly hammered silver surface, flow wirework and colored stones in a simple setting. Ashbee designs silver jewelry and cutlery. The Society flourished in Chipping Camden but was unsuccessful and liquidated in 1908. Some craftsmen lived, contributing to the tradition of modern workmanship in the area.
C.F.A. Voysey (1857-1941) is an architect of Art and Craft who also designs fabrics, tiles, ceramics, furniture, and metal. His style combined with simplicity with sophistication. Her wallpaper and textiles, featuring birds and crop shapes with thick shades with flat colors, are widely used.
Morris's mind affected the distribution of G. K. Chesterton and Hilaire Belloc.
By the end of the nineteenth century, the ideals of Arts and Crafts had influenced architecture, painting, sculpture, graphics, illustration, book and photography, domestic design and decorative arts, including wooden furniture and crafts, stained glass, leather crafts, lacemaking, embroidery , making of carpets and weaving, jewelry and metal, enamel and ceramics. In 1910, there was a fashion for "Arts and Crafts" and all handmade objects. There is a proliferation of amateur crafts with variable quality and incompetent imitators that cause the public to regard Arts and Crafts as "something less, not more, competent and worthy of purpose than regular mass produced articles."
The Society of Arts and Crafts Exhibition held 11 exhibitions between 1888 and 1916. By the time the war broke out in 1914, the situation declined and faced a crisis. The 1912 exhibition has failed financially. While designers in continental Europe are making innovations in design and alliances with industry through initiatives such as Deutsche Werkbund and new initiatives being taken in the UK by Omega Workshop and Design in Industry Association, Arts and Crafts Exhibition Society, now under control of an old guard, withdraw from trade and working with producers to pure hands and what Tania Harrod describes as "dekomoditisasi" His rejection of the commercial role has been seen as a turning point in his fortunes. Nikolaus Pevsner in his book Pioneer of Modern Design presents the Movement of Arts and Crafts as a design radical that influenced the modern movement, but failed to change and was eventually replaced by it.
The next effect
British artist Bernard Leach brought to England many ideas he developed in Japan with social critic Yanagi Soetsu about the moral and social value of simple crafts; both are enthusiastic readers of Ruskin. Leach was an active propagandist for these ideas, which touched the hearts of the craft practitioners in the interwar years, and he described them in A Potter's Book published in 1940, which denounced the industrial community in loud terms like the ones Ruskin and Morris. Thus the philosophy of Arts and Crafts was perpetuated among British craft workers in the 1950s and 1960s, long after the death of the Arts and Crafts movement and in the high currents of Modernism. The utility of British furniture in the 1940s also derived from the principles of Arts and Crafts. One of its main promoters, Gordon Russell, chairman of the Utility Furniture Design Panel, is filled with Art and Craft ideas. She produces furniture in the Cotswold Hills, the area of ​​Art Furniture and Handicrafts manufacture since Ashbee, and she is a member of the Arts and Crafts Exhibition Society. William Morris biographer, Fiona MacCarthy, detected the philosophy of Arts and Crafts even behind the British Festival (1951), the work of designer Terence Conran (born 1931) and the founding of the British Crafts Council in the 1970s.
Outside the UK
ireland
This movement spread to Ireland, representing an important time for the development of the nation's culture, a visual partner for literary awakening at the same time and a publication of Irish nationalism. Arts and Crafts using stained glass are very popular in Ireland, with Harry Clarke the most famous artist and also with Evie Hone. Architectural style is represented by Honan Chapel (1916) in Cork at University College Cork field. Other architects practicing in Ireland include Sir Edwin Lutyens (Heywood House in Co Laois, Lambay Island and Ireland National War Memorial Park in Dublin) and Frederick 'Pa' Hicks (Malahide real estate buildings and round towers). Celtic Irish motifs are very popular with movements in silverware, carpet designs, book illustrations and hand carved furniture.
Scotland
The beginnings of the Arts and Crafts movement in Scotland were in the 1850s awakening stained glass, spearheaded by James Ballantine (1808-77). His major works include a large western window of Dunfermline Abbey and a scheme for St. Anthony's Cathedral. Giles, Edinburgh. In Glasgow it was pioneered by Daniel Cottier (1838-91), who may have studied with Ballantine, and was directly influenced by William Morris, Ford Madox Brown and John Ruskin. His major works include the Baptism of Christ in Paisley Abbey, (c 1880). His followers include Stephen Adam and his son of the same name. Glasgow-born designer and theorist Christopher Dresser (1834-1904) was one of the first independent designers, and most importantly, a prominent figure in the Aesthetic Movement and a major contributor to the Anglo-Japanese movement allied. The movement has a "remarkable flower" in Scotland where it is represented by Glasgow's 'Glasgow Style' development based on the talent of the Glasgow School of Art. The Celtic revival takes place here, and motifs like Glasgow rise to be popular. Charles Rennie Mackintosh and the Glasgow School of Art will influence others around the world.
Continental Europe
On the continent of Europe, the rise and preservation of the national style is an important motif of Art and Craft designers; for example, in Germany, after unification in 1871 under the encouragement of the Bund für Heimatschutz (1897) and Vereinigte WerkstÃÆ'¤tten fÃÆ'¼r Kunst im Handwerk founded in 1898 by Karl Schmidt; and in Hungary KÃÆ'¡roly KÃÆ'³s revives the vernacular style of Transylvanian buildings. In Central Europe, where several different nations lived under the rule of the kingdom (Germany, Austria-Hungary and Russia), the discovery of regional languages ​​was associated with a statement of national pride and struggle for independence, and, while for practitioners Arts and Crafts in the English Style ideal can be found in medieval times, in central Europe it is sought in remote farmer villages.
Widely displayed in Europe, the simplicity of art and craft inspired style designers such as Henry van de Velde and styles such as Art Nouveau, Dutch group De Stijl, Vienna Secession, and finally Bauhaus style. Pevsner regarded that style as the introduction of Modernism, which uses simple forms without ornamentation.
The earliest Arts and Crafts activities on the European continent were in Belgium around 1890, where British-inspired artists and architects included de Velde, Gabriel Van Dievoet, Gustave Serrurier-Bovy and a group known as La Libre EsthÃÆ'Â © tique (Free Aesthetic).
Arts and Crafts products were admired in Austria and Germany in the early 20th century, and under their inspirational design moved quickly ahead while stagnant in the UK. The Wiener WerkstÃÆ'¤tte, founded in 1903 by Josef Hoffmann and Koloman Moser, is influenced by the principles of Arts and Crafts of "artistic unity" and handmade. Deutscher Werkbund (German Artisan Association) was formed in 1907 as an association of artists, architects, designers and industrialists to enhance Germany's global business competitiveness and become an important element in the development of modern architecture and industrial design through its advocacy. standard production. However, its main members, van de Velde and Hermann Muthesius, have conflicting opinions about standardization. Muthesius believed that it was important for Germany to become a leading nation in commerce and culture. Van de Velde, representing the more traditional attitude of Arts and Crafts, believes that artists will forever "protest the imposition of orders or standardization," and that "Artist... will never, on his own accord, subject to the discipline that imposes him a canon or type. "
In Finland, the idealist colony of artists in Helsinki was designed by Herman Gesellius, Armas Lindgren and Eliel Saarinen, who worked in National Romantic style, similar to the British Gothic Awakening.
In Hungary, under the influence of Ruskin and Morris, a group of artists and architects, including KÃÆ'¡roly KÃÆ'³s, Aladár KÃÆ'¶rÃÆ'¶sf? I-Kriesch and Ede Toroczkai Wigand, discovered Folk art and transylvania vernacular architecture. Many of KÃÆ'Â's buildings, s, included in the Budapest Zoo and Wekerle in the same city, show this influence.
In Russia, Viktor Hartmann, Viktor Vasnetsov, Yelena Polenova, and other artists associated with the Abramtsevo Colony sought to revive the quality of medieval Russian decorative art quite independently of the movement in Great Britain.
In Iceland, the work of SÃÆ'¶lvi Helgason shows the influence of Arts and Crafts.
North America
In the United States, the Arts and Crafts style begins various attempts to reinterpret the ideals of European Arts and Crafts for Americans. These include "Artisans" -reports, furniture, and other decorative arts such as the design promoted by Gustav Stickley in his magazine, The Craftsman and the designs produced on the Roycroft campus as published in Elbert Hubbard > The Fra . The two men use their magazine as a vehicle to promote goods produced with Craftsman workshops in Eastwood, NY and Elbert Hubbard at the Roycroft campus in East Aurora, NY. A number of Stickley furniture impersonators (designs often misunderstood as "Mission Styles") include three companies founded by his brothers.
The term "Craftsman style" is often used to denote architectural style, interior design, and decorative art that prevails between the dominant era of Art Nouveau and Art Deco in the United States, or around the period 1910 to 1925. This movement is especially important for professional opportunities open to women as craftsmen, designers and entrepreneurs who founded and ran, or were employed by, successful companies such as Kalo Shop, Rookwood Pottery, and Tiffany Studios. In Canada, the term Arts and Crafts dominates, but Craftsmen are also known.
While the Europeans are trying to recreate the virtuous crafts replaced by industrialization, Americans are trying to build a new kind of virtue to replace the heroic production of crafts: well-decorated, middle-class houses. They claim that the simple but fine art aesthetics of Art and Crafts will glorify new experiences of industrial consumerism, making individuals more rational and more harmonious society. The American Arts and Crafts Movement is an aesthetic partner of contemporary political philosophy, progressivism. Characteristically, when the Society of Arts and Crafts began in October 1897 in Chicago, it was at Hull House, one of the first American settlement homes for social reform.
Ideas Arts and Crafts are disseminated in America through journal and newspaper writings complemented by community sponsoring lectures. The first was held in Boston in the late 1890s, when a group of influential architects, designers, and educators decided to bring to America design reforms initiated in England by William Morris; they meet to organize the exhibition of contemporary craft objects. The first meeting was held on January 4, 1897, at the Museum of Fine Arts (MFA) in Boston to hold contemporary craft exhibitions. When craftsmen, consumers, and producers are aware of the aesthetic and technical potential of applied art, the design renewal process in Boston begins. Attending the meeting were General Charles Loring, Chairman of the Trustee of the MFA; William Sturgis Bigelow and Denman Ross, MFA collectors, writers and managers; Ross Turner, painter; Sylvester Baxter, art critic for Boston Transcript ; Howard Baker, A.W. Longfellow Jr.; and Ralph Clipson Sturgis, architect.
The first American Arts and Crafts Exhibition began on April 5, 1897, at Copley Hall, Boston featuring over 1000 objects made by 160 craftsmen, half of whom were women. Some of the exhibition's supporters are Langford Warren, founder of the Harvard School of Architecture; Mrs. Richard Morris Hunt; Arthur Astor Carey and Edwin Mead, social reformers; and Will H. Bradley, graphic designer. The success of this exhibition resulted in the merger of the Society of Arts and Crafts (SAC), on 28 June 1897, with a mandate to "develop and encourage higher standards in craft." 21 founders claimed to be interested in more than sales, and emphasized the impetus of artists to produce works with the best quality workmanship and design. This mandate was soon expanded into a creed, possibly written by SAC's first president, Charles Eliot Norton, which reads:
This association was established for the purpose of promoting artwork in all branches of crafts. He hopes to bring Designers and Workers into mutual relationships, and to encourage workers to carry out their own designs. It seeks to stimulate in the workers' appreciation of dignity and good design value; to fight the popular impatience of the Law and Shape, and the desire for too much decoration and originality to be moral. This will require the need for calm and restraint, or orderly arrangement, taking into account the relationship between the shape of the object and its use, and the alignment and fitness in the decorations placed on it.
Also influential is the Roycroft community initiated by Elbert Hubbard in Buffalo and East Aurora, New York, Joseph Marbella, utopian communities such as Byrdcliffe Colony in Woodstock, New York, and Rose Valley, Pennsylvania, developments such as Mountain Lakes, New Jersey, a cluster of bungalows and castle houses built by Herbert J. Hapgood, and contemporary studio craft styles. Studio pottery - exemplified by Grueby Faience Company, Newcomb Pottery in New Orleans, Pottery Marblehead, Teco pottery, Overbeck pottery and Rookwood and Mary Chase Poodle Pottery Perry Stratton in Detroit, as well as art tiles made by Ernest A. Batchelder in Pasadena, California , and the odd furniture of Charles Rohlfs all showing the influence of Arts and Crafts.
Architecture and Arts
The Frank Lloyd Wright's "Prairie School" from Frank Lloyd Wright, George Washington Maher and other architects in Chicago, the Country Day School movements, bungalows and main house styles popularized by Greene and Greene, Julia Morgan and Bernard Maybeck are examples of Arts and Crafts American and American Craftsman architectural styles. Examples of restored and protected landmarks still exist in America, especially in California at Berkeley and Pasadena, and other parts of the city originally developed during the era and have not experienced post-war urban renewal. Mission Revival, Prairie School, and 'California bungalow' style buildings remain popular in the United States today.
As theoreticians, educators, and productive artists in the media from graphic arts to pottery and pastels, the two most influential figures were Arthur Wesley Dow (1857-1922) on the East Coast and Pedro Joseph de Lemos (1882-1954) in California. Dow, who taught at Columbia University and founded the Ipswich Art Summer School, published in 1899, his monument Composition, distilled into a clear American approach, the essence of Japanese composition, incorporating into a harmonious three-element decorative blend : simplicity of lines, "notan" (balance of light and dark areas), and color symmetry. The goal is to create beautifully created and beautiful objects. His disciples de Lemos, who heads the San Francisco Institute of Art, Director of Stanford University Museum and Art Gallery, and Editor of School Art Magazine, expand and reflect Dow's ideas. in over 150 monographs and articles for art schools in the United States and Britain. Among his many unorthodox teachings is his belief that the product he created can express "noble beauty" and great insight can be found in the abstract "design form" of pre-Columbian civilization.
Museum
The American Museum of Art and Handicraft is currently under construction in St. Petersburg. Petersburg, Florida, which is scheduled to open in 2019.
Asia
In Japan, Yanagi S? Etsu, the creator of the Mingei movement promoting folk art from the 1920s onwards, was influenced by the writings of Morris and Ruskin. Like the Arts and Crafts movement in Europe, Mingei seeks to preserve traditional crafts in the face of modernization industry.
Architecture
Many leaders of the Arts and Crafts movement are trained as architects (eg William Morris, A. H. Mackmurdo, C. R. Ashbee, W. R. Lethaby) and it is constructive that the movement has the most visible and lasting effect.
Red House, in Bexleyheath, London, was designed for Morris in 1859 by architect Philip Webb, exemplifying the early Art and Craft style, with a proportionate solid shape, wide terraces, steep roofs, pointed arches, brick fireplaces and wooden equipment. Webb rejected the classic revival and other historical styles based on large buildings, and based its design on the vernacular architecture of England, expressing the textures of ordinary materials, such as rocks and tiles, with asymmetrical and beautiful building compositions.
The Bedford Park suburb of London, built mainly in the 1880s and 1890s, has about 360 Art and Craft-style homes and was once famous for its Aesthetic inhabitants. Some of the Almshouses built in Art and Craft style, for example, Whiteley Village, Surrey, were built between 1914 and 1917, with over 280 buildings, and Dyers Almshouses, Sussex, built between 1939 and 1971. Letchworth Garden City, the city's first park, the ideals of Arts and Crafts. The first houses were designed by Barry Parker and Raymond Unwin in the vernacular style popularized by the movement and the city became associated with high mind and simple life. The sandal-making workshop created by Edward Carpenter moved from Yorkshire to Letchworth Garden City and George Orwell's words about "any fruit juice drinker, nudist, user sandals, sex maniacs, Quakers, Cure Alam shamans, pacifists and feminists at England "went to a socialist conference in Letchworth has become famous.
Sample architecture
- Red House - Bexleyheath, Kent - 1859
- YHA Beer - Youth Hostel - Beer, East Devon
- Wightwick Manor - Wolverhampton, England - 1887-93
- Standen - East Grinstead, United Kingdom - 1894
- Swedenborgian Church - San Francisco, California - 1895
- Blackwell - Lake District, United Kingdom - 1898
- Derwent House - Chislehurst, Kent - 1899
- Stoneywell - Ulverscroft, Leicestershire - 1899
- West Court, Fishery Road, Maidenhead - 1899
- Art & amp; Church of the Crafts (Church and Methodist School of Long Street) - Manchester, England - 1900
- Spade House - Sandgate, Kent - 1900
- Caledonian Estate - Islington, London - 1900-1907
- Horniman Museum - Forest Hill, London - 1901
- Shaw Corners - Ayot St Lawrence, Hertfordshire - 1902
- Pierre P. Ferry House - Seattle, Washington - 1903-1906
- Winterbourne House - Birmingham, UK - 1904
- Marston House - San Diego, California - 1905
- Edgar Wood Center - Manchester, United Kingdom - 1905
- Ramsay House - Ellensburg, Washington - 1905
- The House of Debenham - Holland Park, London - 1905-07
- Robert R. Blacker House - Pasadena, California - 1907
- The Gamble House - Pasadena, California - 1908
- Oregon Public Library - Oregon, Illinois - 1909
- Thorsen House - Berkeley, California - 1909
- Rodmarton Manor - Rodmarton, near Cirencester, Gloucestershire - 1909-29
- First Church of Christ, Scientist - Berkeley, California - 1910
- St. The Presbyterian Church of John - Berkeley, California - 1910
- Craftsman Farms - Parsippany, New Jersey - 1911
- Whare Ra - Havelock North, New Zealand - 1912
- Sutton Garden Suburb - Benhilton, Sutton, London - 1912-14
- Asilomar Conference Grounds - Pacific Grove, California - 1913
- Honan Chapel - University College Cork, Ireland - c.1916
- Cathedral of Saint Francis Xaverius - Geraldton Western Australia 1916-1938
- Memorial Library School Bedales - near Petersfield, Hampshire - 1919-21
- Plewlands Avenue (Private home) Edinburgh - 1920
- The Nurses Memorial Chapel at Christchurch Hospital, New Zealand - 1927
- Villa Ruggeri built by Giuseppe Brega - in Pesaro, Italy completed in 1907
Garden design
Gertrude Jekyll applies the principle of Arts and Crafts to garden design. He worked with British architect Sir Edwin Lutyens for his projects he created many landscapes, and who designed his home Munstead Wood, near Godalming in Surrey. Jekyll created a garden for Bishopsbarns, home of York architect Walter Brierley, an exponent of the Arts and Crafts movement and known as "Lutyens of the North". The garden for Brierley's final project, Goddards in York, is the work of George Dillistone, a gardener who works with Lutyens and Jekyll at Castle Drogo. In the Garden of Goddards the park incorporates a number of features that reflect the style of art and home crafts, such as the use of hedges and herb borders to divide the park into a series of open spaces. The other famous Arts and Crafts Parks are the Hidcote Manor Garden designed by Lawrence Johnston who is also laid out in a series of outdoor spaces and where, like Goddards, the landscape becomes less formal farther than home. Other examples of the Arts and Crafts gardens include the Hestercombe Gardens , Lytes Cary Manor and parks of several examples of architectural buildings of art and crafts (listed above).
Arts education
Morris's ideas were adopted by the New Education Movement in the late 1880s, which included the teaching of handicrafts at schools in Abbotsholme (1889) and Bedales (1892), and its influence was noted in the Dartington Hall social experiment during the mid-20th century..
Arts and Crafts Practitioners in the UK are very critical of the government's art education system based on abstract design with little instruction on practical crafts. This lack of craft training has also raised concerns among industry and the official, and in 1884 the Royal Commission (accepting advice from William Morris) recommended that art education should pay more attention to the suitability of the design with the material to be executed. The first school to make this change is the Birmingham School of Arts and Crafts, which "leads in introducing designs that are run for national art and design teaching (working in materials whose designs are intended rather than designing on paper). In an external examiner report in 1889, Walter Crane praised the Birmingham School of Art for 'regarded as a design in relation to matter and use.' "Under the direction of Edward Taylor, his principal from 1877 to 1903, and with the help of Henry Payne and Joseph Southall, the Birmingham School became a leading Center for Arts and Crafts.
Other local authority schools also began introducing more practical craft teaching, and by the 1890s, the idea of ​​Arts and Crafts was disseminated by members of the Art Workers Union to art schools across the country. Guild members hold influential positions: Walter Crane is director of the Manchester School of Art and then the Royal College of Art; F.M. Simpson, Robert Anning Bell and C.J.Allen are professors of architecture, instructors in painting and design, and instructors in sculpture at the Liverpool School of Art; Robert Catterson-Smith, principal of Birmingham Art School from 1902-1920, was also an AWG member; W. R. Lethaby and George Frampton were inspectors and counselors of the London County Council (LCC) education board and in 1896, largely as a result of their work, the LCC established the College of Arts and Crafts and made them headmasters together. Until the establishment of the Bauhaus in Germany, the Central School was considered the most progressive art school in Europe. Shortly after its establishment, Camberwell School of Arts and Crafts was established on the Arts and Crafts line by the local councils.
Kreisman, Lawrence. The Arts & amp; Craft Movement in the Pacific Northwest. Timber Press.
External links
- Fiona MacCarthy, "Old romance", The Guardian , Saturday 5 March 2005 01.25 GMT
- American and Canadian furniture makers during Arts & amp; Craft Movement
- The first public museum dedicated exclusively to American Arts & amp; Craft Movement
- Catalog lists with images of American Arts & amp; Craft furniture maker
Source of the article : Wikipedia
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