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This article is about the art and design movement. For 1 Social and design principles
handicrafts generally, see Handicraft. For other uses, see
Arts & Crafts (disambiguation).
The Arts and Crafts movement was an international The Arts and Crafts style emerged from the attempt to reform design and decoration in mid 19th century Britain.
It was a reaction against a decline in standards that the
reformers associated with machinery and factory production, and was in part a response to items shown in the
Great Exhibition of 1851 that were ornate, articial and
ignored the qualities of the materials used.
The art historian Nikolaus Pevsner has said that exhibits
in the Great Exhibition showed ignorance of that basic need in creating patterns, the integrity of the surface and vulgarity in detail.[10] Design reform began with the organisers of the Exhibition itself, Henry
Cole (18081882), Owen Jones (18091874), Matthew
Digby Wyatt (18201877) and Richard Redgrave (1804
1888),[11] and the dislike of excessive ornament and badly
made things was not exclusive to the Arts and Crafts
movement.[12] Owen Jones, for example, declared that
Ornament ... must be secondary to the thing decorated,
that there must be tness in the ornament to the thing
ornamented, and that wallpapers and carpets must not
have any patterns suggestive of anything but a level or
plain.[13] Where a fabric or wallpaper in the Great ExWilliam Morris design for Trellis wallpaper, 1862
hibition might be decorated with a natural motif made
to look as real as possible, an Arts and Crafts, like the
movement in the decorative and ne arts that began in Artichoke design illustrated above, would use a at and
Britain and ourished in Europe and North America be- simplied natural motif.
tween 1880 and 1910,[1] emerging in Japan in the 1920s.
It stood for traditional craftsmanship using simple forms, William Morris, a major gure in 19th century design
and often used medieval, romantic, or folk styles of deco- reform, whose ideas inspired the Arts and Crafts Moveration. It advocated economic and social reform and was ment, advocated production by traditional craft methods
essentially anti-industrial.[2][3][4] It had a strong inuence but was inconsistent in his view of what place machinon the arts in Europe until it was displaced by Modernism ery should play. At one point he said that production by
[10]
in the 1930s,[5] and its inuence continued among craft machinery was altogether an evil, but he was willing
makers, designers, and town planners long afterwards.[6] to use manufacturers able to work to his standards with
the aid of machinery;[14] and he said that, in a true sociThe term was rst used by T. J. Cobden-Sanderson at ety, where neither luxuries nor cheap trash were made,
a meeting of the Arts and Crafts Exhibition Society in machinery could be improved and used to reduce the
1887,[7] although the principles and style on which it was hours of labour.[15] Fiona MacCarthy says that unlike
based had been developing in England for at least twenty later zealots like Gandhi, William Morris had no practiyears. It was inspired by the ideas of architect Augustus cal objections to the use of machinery per se so long as
Pugin (18121852), writer John Ruskin (18191900), the machines produced the quality he needed.[16] Morand artist William Morris (18341896).[1]
riss followers also had subtly diering views or changed
The movement developed earliest and most fully in the their minds over time. C.R.Ashbee, for example, a cenBritish Isles,[5] and spread across the British Empire and tral gure in the Arts and Crafts Movement, shared Morto the rest of Europe and North America.[8] It was largely riss ambivalence. At the time of his Guild of Handia reaction against the perceived impoverished state of the craft, initiated in 1888, he said, We do not reject the
decorative arts at the time and the conditions in which machine, we welcome it. But we would desire to see it
they were produced.[2]
mastered.[10][17] After unsuccessfully pitting his Guild
1
and Crafts Exhibition Society did not insist that the designer should also be the maker. Peter Floud, writing in
the 1950s, said that The founders of the Society ... never
executed their own designs, but invariably turned them
over to commercial rms.[20] The idea that the designer
should be the maker and the maker the designer derived
not from Morris or early Arts and Crafts teaching, but
rather from the second-generation elaboration doctrine
worked out in the rst decade of [the twentieth] century
by men such as W. R. Lethaby".[20]
The Arts and Crafts Movement was associated with socialist ideas in the persons of Morris, T. J. Cobden
Sanderson, Walter Crane, Ashbee and others. In the early
1880s Morris was spending more of his time on socialist
propaganda than on designing and making.[21] Ashbee established a community of craftsmen, the Guild of Handicraft, in east London, later moving to Chipping Campden.[7] Those adherents who were not socialists, for example, Alfred Hoare Powell,[22] advocated a more humane and personal relationship between employer and
employee. Lewis Foreman Day, a very successful and
inuential Arts and Crafts designer, was not a socialist
either, despite his long friendship with Crane.
In Britain the movement was associated with dress reform,[23] ruralism, the garden city movement[6] and the
folk-song revival, and in continental Europe with the
preservation of national traditions in building, the applied
arts, domestic design and costume.
2 Furnishings
gallery
and
decoration
3.2
John Ruskin
William Morris
DEVELOPMENT
the standard for their early style.[28] In Edward Burne- industrial methods.
Jones' words, they intended to wage Holy warfare against The spread of Arts and Crafts ideas during the late 19th
the age.[29]
and early 20th centuries resulted in the establishment of
Morris began experimenting with various crafts and de- many associations and craft communities, although Morsigning furniture and interiors.[30] He was personally in- ris was not involved with them because of his preoccupavolved in manufacture as well as design,[30] which was to tion with socialism in the 1880s. A hundred and thirty
be the hallmark of the Arts and Crafts movement. Ruskin Arts and Crafts organisations were formed in Britain,
had argued that the separation of the intellectual act of most between 1895 and 1905.[31]
design from the manual act of physical creation was both In 1881, Eglantyne Louisa Jebb, Mary Fraser Tytler and
socially and aesthetically damaging; Morris further devel- others initiated the Home Arts and Industries Associaoped this idea, insisting that no work should be carried out tion to encourage the working classes, especially those in
in his workshops before he had personally mastered the rural areas, to take up handicrafts under supervision, not
appropriate techniques and materials, arguing that with- for prot, but in order to provide them with useful occuout dignied, creative human occupation people became pations and to improve their taste. By 1889 it had 450
disconnected from life.[30]
classes, 1,000 teachers and 5,000 students.[32]
In 1882, architect A.H.Mackmurdo formed the Century
Guild, a partnership of designers including Selwyn Image, Herbert Horne, Clement Heaton and Benjamin
Creswick.[33][34]
In 1884, the Art Workers Guild was initiated by ve
young architects, William Lethaby, Edward Prior, Ernest
Newton, Mervyn Macartney and Gerald C. Horsley, with
the goal of bringing together ne and applied arts and
raising the status of the latter. It was directed originally
by George Blackall Simonds. By 1890 the Guild had 150
members, representing the increasing number of practitioners of the Arts and Crafts style.[35] It still exists.
The weaving shed in Morris & Cos factory at Merton, which
opened in the 1880s
Development
Morriss designs quickly became popular, attracting interest when his companys work was exhibited at the 1862
International Exhibition. Much of Morris & Cos early
work was for churches and Morris won important interior
design commissions at St Jamess Palace and the South
Kensington Museum (now the Victoria and Albert Museum). Later his work became popular with the middle
and upper classes, despite his wish to create a democratic
art, and by the end of the 19th century, Arts and Crafts
design in houses and domestic interiors was the dominant
style in Britain, copied in products made by conventional
5
Ashbee relocated the guild out of London to begin an
experimental community in Chipping Campden in the
Cotswolds. The guilds work is characterized by plain surfaces of hammered silver, owing wirework and colored
stones in simple settings. Ashbee designed jewellery and
silver tableware. The guild ourished at Chipping Camden but did not prosper and was liquidated in 1908. Some
craftsmen stayed, contributing to the tradition of modern
craftsmanship in the area.[24][40][41]
Charles Francis Annesley Voysey (18571941) was an
Arts and Crafts architect who also designed fabrics, tiles,
ceramics, furniture and metalwork. His style combined
simplicity with sophistication. His wallpapers and textiles, featuring stylised bird and plant forms in bold outColeton Fishacre was designed in 1925 as a holiday home in
lines with at colors, were used widely.[24]
Kingswear, Devon, England, in the Arts and Crafts tradition.
4.1
Later inuences
The British artist potter Bernard Leach brought to England many ideas he had developed in Japan with the social
critic Yanagi Soetsu about the moral and social value of
simple crafts; both were enthusiastic readers of Ruskin.
Leach was an active propagandist for these ideas, which
struck a chord with practitioners of the crafts in the interwar years, and he expounded them in his book The Art of
the Potter, published in 1940, which denounced industrial
society in terms as vehement as those of Ruskin and Morris. Thus the Arts and Crafts philosophy was perpetuated
among British craft workers in the 1950s and 1960s, long
after the demise of the Arts and Crafts movement and at
the high tide of Modernism. British Utility furniture of
the 1940s also derived from Arts and Crafts principles.[46]
One of its main promoters, Gordon Russell, chairman
of the Utility Furniture Design Panel, was imbued with
Arts and Crafts ideas. He manufactured furniture in the
Cotswold Hills, a region of Arts and Crafts furnituremaking since Ashbee, and he was a member of the Arts
and Crafts Exhibition Society. William Morriss biographer, Fiona MacCarthy, detected the Arts and Crafts
philosophy even behind the Festival of Britain (1951), the
work of the designer Terence Conran (b. 1931)[6] and the
founding of the British Crafts Council in the 1970s.[47]
5 Outside England
5.1 Ireland
The movement spread to Ireland, representing an important time for the nations cultural development, a visual
counterpart to the literary revival of the same time[48]
and was a publication of Irish nationalism. The Arts
and Crafts use of stained glass was popular in Ireland,
with Harry Clarke the best-known artist and also with
Evie Hone. The architecture of the style is represented
by the Honan Chapel (1916) in Cork in the grounds of
University College Cork. Other architects practicing in
Ireland included Sir Edwin Lutyens (Heywood House in
Co. Laois, Lambay Island and the Irish National War
Memorial Gardens in Dublin) and Frederick 'Pa' Hicks
(Malahide Castle estate buildings and round tower). Irish
Celtic motifs were popular with the movement in silvercraft, carpet design, book illustrations and hand-carved
furniture.
OUTSIDE ENGLAND
Scotland
The beginnings of the Arts and Crafts movement in
Scotland were in the stained glass revival of the 1850s,
pioneered by James Ballantine (180877). His major
works included the great west window of Dunfermline
Abbey and the scheme for St. Giles Cathedral, Edinburgh. In Glasgow it was pioneered by Daniel Cottier
(183891), who had probably studied with Ballantine,
and was directly inuenced by William Morris, Ford Madox Brown and John Ruskin. His key works included
the Baptism of Christ in Paisley Abbey, (c. 1880). His
followers included Stephen Adam and his son of the
same name.[49] The Glasgow-born designer and theorist
Christopher Dresser (18341904) was one of the rst,
and most important, independent designers, a pivotal gure in the Aesthetic Movement and a major contributor to
the allied Anglo-Japanese movement.[50] The movement
had an extraordinary owering in Scotland where it was
represented by the development of the 'Glasgow Style'
which was based on the talent of the Glasgow School of
Art. Celtic revival took hold here, and motifs such as
the Glasgow rose became popularised. Charles Rennie
Mackintosh and the Glasgow School of Art were to inuence others worldwide.[5][44]
5.2
Continental Europe
The Swedish artists Carl Larsson and Karin Berg Larsson were
inspired by the Arts and Crafts movement when designing their
home.
5.3
5.3
North America
North America
Example of Arts and Crafts style inuence on Federation architecture Observe the faceted bay window and the stone base.
Warren Wilson Beach House (The Venice Beach House), Venice,
California
Arts and Crafts Tudor Home in the Buena Park Historic District,
Uptown, Chicago
In the United States, the Arts and Crafts style initiated a variety of attempts to reinterpret European Arts
and Crafts ideals for Americans. These included the
Craftsman"-style architecture, furniture, and other decorative arts such as designs promoted by Gustav Stick-
The terms American Craftsman or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco in the USA,
or approximately the period from 1910 to 1925. The
movement was particularly notable for the professional
opportunities it opened up for women as artisans, designers and entrepreneurs who founded and ran, or were employed by, such successful enterprises as the Kalo Shops,
Rookwood Pottery, and Tiany Studios. In Canada, the
term Arts and Crafts predominates, but Craftsman is also
recognized.[56]
While the Europeans tried to recreate the virtuous crafts
being replaced by industrialisation, Americans tried to
establish a new type of virtue to replace heroic craft
production: well-decorated middle-class homes. They
claimed that the simple but rened aesthetics of Arts and
Crafts decorative arts would ennoble the new experience
of industrial consumerism, making individuals more rational and society more harmonious. The American Arts
and Crafts movement was the aesthetic counterpart of its
contemporary political philosophy, progressivism. Characteristically, when the Arts and Crafts Society began in
October 1897 in Chicago, it was at Hull House, one of the
rst American settlement houses for social reform.[57]
Arts and Crafts ideals disseminated in America through
journal and newspaper writing were supplemented by societies that sponsored lectures.[57] The rst was organized
in Boston in the late 1890s, when a group of inuential architects, designers, and educators determined to bring to
OUTSIDE ENGLAND
5.4 Asia
In Japan, Yanagi Setsu, creator of the Mingei movement
which promoted folk art from the 1920s onwards, was
6.1
Architectural examples
Architecture
9
Spade House - Sandgate, Kent - 1900
Caledonian Estate - Islington, London - 1900 - 1907
Shaws Corner - Ayot St Lawrence, Hertfordshire 1902
Rodmarton Manor - Rodmarton, near Cirencester,
Gloucestershire - 1909-29
Bedales School Memorial Library - near Peterseld,
Hampshire - 1919-21
Plewlands Avenue (Private houses) Edinburgh 1920
Pierre P. Ferry House - Seattle, Washington - 19031906
Marston House - San Diego, California - 1905
Edgar Wood Centre - Manchester, England - 1905
Debenham House - Holland Park, London - 190507
6.1
Architectural examples
10
6.2
Architectural gallery
ART EDUCATION
8 Art education
Morriss ideas were adopted by the New Education phi St. Edward the Confessor, Kempley, 1904, de- losophy in the late 1880s, which incorporated handiscribed by J Betjeman as 'A mini-cathedral of the craft teaching in schools at Abbotsholme (1889) and
Bedales (1892), and his inuence has been noted in the
Arts and Crafts movement.'
social experiments of Dartington Hall during the mid Rivercourt - Arts and Crafts Cottage
20th century.[70]
East window of St Mary the Virgin, Acocks Green, Arts and Crafts practitioners in Britain were critical of the
government system of art education which was based on
Birmingham
design in the abstract with little teaching of practical craft.
Church of St James, Leckhampstead, Berkshire
This lack of craft training also caused concern in indus Aintree Mansion, a cultural heritage site in the trial and ocial circles, and in 1884 a Royal Commission
(accepting the advice of William Morris) recommended
Canadian Register of Historic Places.
that art education should pay more attention to the suit Blackwell, Windermere, Cumbria - Main Hall - MH ability of design to the material in which it was to be
Baillie-Scott
executed.[71] The rst school to make this change was the
Birmingham School of Arts and Crafts, which led the
Red House, Bexleyheath, 1860, William Morris and
way in introducing executed design to the teaching of art
Philip Webb
and design nationally (working in the material for which
the design was intended rather than designing on paper).
Inglewood House by Ernest Gimson
In his external examiners report of 1889, Walter Crane
Standen House West Sussex, by Philip Webb 1894, praised Birmingham School of Art in that it 'considered
design in relationship to materials and usage.'"[72] Under
Standen House, 1894, interior
the direction of Edward Taylor, its headmaster from 1877
to 1903, and with the help of Henry Payne and Joseph
Voewood House, High Kelling, Norfolk
Southall, the Birmingham School became a leading Arts Hand-carved stonework at Church of St Thomas, and-Crafts centre.[73]
Thurstonland, 1870
Other local authority schools also began to introduce
Wekerle estate, Budapest, (190825) by Kroly Ks more practical teaching of crafts, and by the 1890s Arts
and Crafts ideals were being disseminated by members
of the Art Workers Guild into art schools throughout
the country. Members of the Guild held inuential po7 Garden design
sitions: Walter Crane was director of the Manchester
School of Art and subsequently the Royal College of Art;
Gertrude Jekyll applied Arts and Crafts principles to garden design. She worked with the English architect, Sir F.M. Simpson, Robert Anning Bell and C.J.Allen were
Edwin Lutyens, for whose projects she created numerous respectively professor of architecture, instructor in paintlandscapes, and who designed her home Munstead Wood, ing and design, and instructor in sculpture at Liverpool
near Godalming in Surrey.[64] Jekyll created the gardens School of Art; Robert Catterson-Smith, the headmaster
for Bishopsbarns,[65] the home of York architect Walter of the Birmingham Art School from 1902-1920, was also
Brierley, an exponent of the Arts and Crafts movement an AWG member; W. R. Lethaby and George Frampand known as the Lutyens of the North.[66] The gar- ton were inspectors and advisors to the London County
den for Brierleys nal project, Goddards in York, was Council's (LCC) education board and in 1896, largely as
the work of George Dillistone, a gardener who worked a result of their work, the LCC set up the Central School
[74]
with Lutyens and Jekyll at Castle Drogo.[67] At Goddards of Arts and Crafts and made them joint principals.
the garden incorporated a number of features that re- Shortly after, the Camberwell School of Arts and Crafts
ected the arts and crafts style of the house, such as was set up on Arts and Crafts lines by the local borough
the use of hedges and herbaceous borders to divide the council.
garden into a series of outdoor rooms.[68] Another notable Arts and Crafts garden is Hidcote Manor Garden
designed by Lawrence Johnston which is also laid out in
a series of outdoor rooms and where, like Goddards, the
landscaping becomes less formal further away from the
house.[69] Other examples of Arts and Crafts gardens include Hestercombe Gardens, Lytes Cary Manor and the
gardens of some of the architectural examples of arts and
crafts buildings (listed above).
11
the debate that followed the publication of the committees report, C.R.Ashbee published a highly critical essay,
Should We Stop Teaching Art, in which he called for the
system of art education to be completely dismantled and
for the crafts to be learned in state-subsidised workshops
instead.[76] Lewis Foreman Day, an important gure in
the Arts and Crafts movement, took a dierent view in
his dissenting report to the committee of inquiry, arguing
for greater emphasis on principles of design against the
growing orthodoxy of teaching design by direct working
in materials. Nevertheless, the Arts and Crafts ethos thoroughly pervaded British art schools and persisted, in the
view of the historian of art education, Stuart MacDonald,
until after the Second World War.[74]
Julia Morgan
William de Morgan
William Morris
Karl Parsons
Alfred Hoare Powell
Edward Schroeder Prior
Hugh C. Robertson
William Robinson
Baillie Scott
Norman Shaw
Leading practitioners
Gustav Stickley
Barnsley brothers
Charles Voysey
Detmar Blow
Philip Webb
Christopher Whall
T. J. Cobden-Sanderson
Walter Crane
Nelson Dawson
Edgar Wood
10 See also
Art Nouveau
Christopher Dresser
Charles Prendergast
Ernest Gimson
Philip Clissett
11 References
William Lethaby
Edwin Lutyens
A.H.Mackmurdo
Samuel Maclure
George Washington Maher
Bernard Maybeck
Henry Chapman Mercer
12
11
[6] Fiona MacCarthy, Anarchy and Beauty: William Morris and his Legacy 1860-1960, London: National Portrait
Gallery, 2014 ISBN 978 185514 484 2
[8] Wendy Kaplan and Alan Crawford, The Arts & Crafts
Movement in Europe & America: Design for the Modern
World, Los Angeles County Museum of Art
[9] Alan Crawford, W. A. S. Benson, Machinery, and the
Arts and Crafts Movement in Britain, The Journal of
Decorative and Propaganda Arts, Vol. 24, Design, Culture, Identity: The Wolfsonian Collection (2002), pp. 94117
[10] Nikolaus Pevsner, Pioneers of Modern Design, Yale University Press, 2005, ISBN 0-300-10571-1
[11] V&A, Wallpaper Design Reform
[12] Naylor 1971.
[13] Quoted in Nikolaus Pevsner, Pioneers of Modern Design
[14] Graeme Shankland, William Morris - Designer, in
Asa Briggs (ed.) William Morris: Selected Writings and
Designs, Harmondsworth: Penguin, 1980 ISBN 0-14020521-7
[15] William Morris, Useful Work versus Useless Toil, in
Asa Briggs (ed.) William Morris: Selected Writings
and Designs, Harmondsworth: Pengin, 1980 ISBN 0-14020521-7
[16] MacCarthy 1994, p. 351.
[17] Ashbee, C.R., A Few Chapters on Workshop Construction
and Citizenship, London, 1894.
[18] C.R.Ashbee, Should We Stop Teaching Art?, New York
and London: Garland, 1978, p.12 (Facsimile of the 1911
edition)
[19] Elisabeth Frolet, Nick Pearce, Soetsu Yanagi and Sori
Yanagi, Mingei: The Living Tradition in Japanese Arts,
Japan Folk Crafts Museum/Glasgow Museums, Japan:
Kodashani International, 1991
[20] Peter Floud, The crafts then and now, The Studio, 1953,
p.127
[21] MacCarthy 1994, p. 640-663.
[22] Jacqueline Sarsby Alfred Powell: Idealism and Realism
in the Cotswolds, Journal of Design History, Vol. 10, No.
4, pp. 375-397
[23] V&A, Victorian Dress at the V&A
[24] Victoria and Albert Museum. Vam.ac.uk. Retrieved
2010-08-28.
[25] Rosemary Hill, Gods Architect: Pugin and the Building of
Romantic Britain, London: Allen Lane, 2007
[26] David Pye, The Nature and Art of Workmanship, Cambridge University Press, 1968
REFERENCES
13
[74] Stuart Macdonald, The History and Philosophy of Art Education, London: University of London Press, 1970. ISBN
0 340 09420 6
[60] Edwards, Robert W. (2015). Pedro de Lemos, Lasting Impressions: Works on Paper. Worcester, Mass.: Davis Publications Inc. pp. 4111. ISBN 9781615284054.
Cathers, David M. (1981). Furniture of the American Arts and Crafts Movement. The New American
Library, Inc. ISBN 0-453-00397-4.
[62] Nichols, Steve (18 February 2015). New, bigger, art museum coming to St. Pete. FOX 13 Pinellas Bureau Reporter. Archived from the original on February 21, 2015.
Retrieved 3 March 2015.
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External links
EXTERNAL LINKS
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Images
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