The Arts and Crafts Movement was an international design movement that originated in Britain and flourished between 1880 and 1910. It was instigated by the artist and writer William Morris William Morris was an English textile designer, artist, writer, and socialist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement. Morris wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. His best-known works include The Defence of Guenevere and Other Poems ( (1834–1896) in the 1860s and was inspired by the writings of John Ruskin John Ruskin was an English art critic and social thinker, also remembered as a poet and artist. His essays on art and architecture were extremely influential in the Victorian and Edwardian eras (1819–1900). It influenced architecture, domestic design and the decorative arts, using simple forms and a medieval style of decoration. It advocated truth to materials, traditional craftsmanship and economic reform.

History of the movement

Great Britain

The central figure in the Arts and Crafts Movement was William Morris (1834–1896). His ideas emerged from the Pre-Raphaelite Brotherhood The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were soon joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form a seven-member "brotherhood", of which he had been a part, and from his reading of Ruskin.

In 1861 Morris and his friends founded a company, Morris, Marshall, Faulkner & Co., which, under the supervision of the partners, designed and made decorative objects for the home, including wallpaper, textiles, furniture and stained glass. Later it was re-formed as Morris & Co. In 1890 Morris set up the Kelmscott Press William Morris was an English textile designer, artist, writer, and socialist associated with the Pre-Raphaelite Brotherhood and the English Arts and Crafts Movement. Morris wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. His best-known works include The Defence of Guenevere and Other Poems (, for which he designed a typeface In typography, a typeface is a set of one or more fonts, in one or more sizes, designed with stylistic unity, each comprising a coordinated set of glyphs. A typeface usually comprises an alphabet of letters, numerals, and punctuation marks; it may also include ideograms and symbols, or consist entirely of them, for example, mathematical or map- based on Nicolas Jenson Nicolas Jenson was a French engraver, pioneer printer and typographer who did most of his work in Venice's letter forms of the fifteenth century.^[2] This printed fine and de-luxe editions of contemporary and historical English literature.

Red House, Bexleyheath Bexleyheath is a large suburban town in southeast London, situated in the London Borough of Bexley, and located 12 miles east-southeast of Charing Cross. It is situated on the London to Dover section of the Roman road, Watling Street. The area is identified in the London Plan as one of 35 major centres in Greater London, London (1859), designed for Morris by architect Philip Webb Another Philip Webb — Philip Edward Webb was the architect son of leading architect Sir Aston Webb. Along with his brother, Maurice, he assisted his father towards the end of his career, exemplifies the early Arts and Crafts style, with its well-proportioned solid forms, deep porches, steep roof, pointed window arches, brick fireplaces and wooden fittings. Webb rejected the grand classical style, found inspiration in British vernacular architecture and attempted to express the texture of ordinary materials, such as stone and tiles, with an asymmetrical and quaint building composition.^[3]

Morris's ideas spread in the late nineteenth and early twentieth centuries, and gave rise to many associations and craft communities, although Morris himself was not involved in them because of his preoccupation with socialism. A hundred and thirty Arts and Crafts organizations were formed in Britain, most of them between 1895 and 1905.^[4]

In 1881, Eglantyne Louisa Jebb Eglantyne Louisa Jebb was a social reformer. Born in Killiney, Ireland, she married her cousin Arthur Trevor Jebb (1839-1894), a barrister and landowner from Ellesmere, Shropshire. Her brother was the classicist Sir Richard Claverhouse Jebb. A keen supporter of the arts and crafts movement, in 1884 she founded the Home Arts and Industries, Mary Fraser Tytler Born in India, she was the daughter of Charles Edward Fraser Tytler of Balnain and Aldourie, but spent much of her youth in Scotland and settled in England in the 1860s and others set up the Home Arts and Industries Association The Home Arts and Industries Association was an organisation that functioned as a precursor to the Art Workers Guild in the development of the Arts and Crafts Movement in Britain. It was founded in 1884 by Eglantyne Louisa Jebb who was inspired by an initiative of Charles Godfrey Leland in Philadelphia. Another leading member was the designer Mary to promote and protect rural handicrafts. In 1882, the architect A.H.Mackmurdo Arthur Heygate Mackmurdo was a progressive English architect and designer, who influenced the Arts and Crafts Movement, notably through the Century Guild of Artists, which he set up in partnership with Selwyn Image in 1882. He was educated at Felsted School formed the Century Guild, a partnership of designers including Selwyn Image Selwyn Image was a British clergyman, designer, including of stained glass windows and poet, Herbert Horne Herbert Percy Horne was an English poet, architect, typographer and designer, art historian and antiquarian. He was an associate of the Rhymer's Club in London. He edited the magazines The Century Guild Hobby Horse and The Hobby Horse for the Century Guild, Clement Heaton and Benjamin Creswick.^[4] In 1884, the Art Workers Guild The Art Workers Guild or Art-Workers' Guild is an organisation established in 1884 by a group of British architects associated with the ideas of William Morris and the Arts and Crafts movement. The guild promoted the 'unity of all the arts', denying the distinction between fine and applied art. It opposed the professionalisation of architecture – was formed by five young architects, William Lethaby William Richard Lethaby was an English architect and architectural historian whose ideas were highly influential on the late Arts and Crafts and early Modern movements in architecture, and in the fields of conservation and art education, Edward Prior, Ernest Newton, Mervyn Macartney and Gerald C. Horsley, with the aim of integrating design and making. It was originally led by George Blackall Simonds. By 1890 the Guild had 150 members, reflecting the growing number of practitioners of the Arts and Crafts.^[4] It still exists. At the same time the Arts and Craft aesthetic was copied by many designers of decorative products made by conventional industrial methods. The London department store A department store is a retail establishment which specializes in satisfying a wide range of the consumer's personal and residential durable goods product needs; and at the same time offering the consumer a choice multiple merchandise lines, at variable price points, in all product categories. Department stores usually sell products including Liberty & Co., founded in 1875, was a prominent retailer of goods in the style.

In 1887 the Arts and Crafts Exhibition Society The Arts and Crafts Exhibition Society was formed in London in 1887 to promote the exhibition of decorative arts alongside fine arts. Its exhibitions, held annually at the New Gallery from 1888-90, and roughly every three years thereafter, were important in the flowering of the British Arts and Crafts Movement in the decades prior to World War I was formed with Walter Crane Walter Crane was an English artist and book illustrator. He is considered, along with Randolph Caldecott and Kate Greenaway, one of the strongest contributors to the child's nursery motif that the genre of English children's illustrated literature would exhibit in its developmental stages in the latter 19th century. His work featured some of the as president, holding its first exhibition in the New Gallery, London, in November 1888.^[5] It was the first show of contemporary decorative arts in London since the Grosvenor Gallery The Grosvenor Gallery was an art gallery founded in Bond Street, London in 1877 by Sir Coutts Lindsay and his wife Blanche. They engaged J. Comyns Carr and Charles Hallé as co-directors's Winter Exhibition of 1881.^[6] Morris & Co. were well represented in the exhibition with furniture, fabrics, carpets and embroideries. Edward Burne-Jones Sir Edward Coley Burne-Jones, 1st Baronet was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement, who worked closely with William Morris on a wide range of decorative arts as a founding partner in Morris, Marshall, Faulkner, and Company. Burne-Jones was closely involved in the rejuvenation of the observed, "here for the first time one can measure a bit the change that has happened in the last twenty years".^[4] The Society still exists as the Society of Designer Craftsmen.

In 1888, C.R.Ashbee Charles Robert Ashbee was a designer and entrepreneur who was a prime mover of the English Arts and Crafts movement that took its craft ethic from the works of John Ruskin and its co-operative structure from the socialism of William Morris, a major figure in the later years of the Arts and Crafts Movement in England, set up the Guild and School of Handicraft in the East End of London. The Guild was a sort of craft co-operative modelled on the medieval guilds and intended to give working men the satisfactions of craftsmanship. Skilled craftsmen, working on the principles of Ruskin and Morris, were to produce hand-crafted goods and run a school for young apprentices. The idea was greeted with enthusiasm by almost everyone except Morris himself, who was by now involved in promoting socialism and thought Ashbee's scheme trivial. From 1888 to 1902 it prospered, employing about fifty men. In 1902 Ashbee moved the Guild out of London to found an experimental community in Chipping Campden Chipping Campden is a small market town within the Cotswold district of Gloucestershire, England. It is notable for its elegant terraced High Street, dating from the 14th century to the 17th century. ("Chipping" is from Old English cēping, "a market, a market-place"; the same element is found in other towns such as Chipping in the Cotswolds The Cotswolds are a range of hills in west-central England, sometimes called the "Heart of England", an area 25 miles across and 90 miles (145 km) long. The area has been designated as the Cotswold Area of Outstanding Natural Beauty. The highest point in the Cotswolds range is Cleeve Hill at 1,083 ft (330 m), 2.5 miles (4 km) to the. The Guild's work is characterized by plain surfaces of hammered silver, flowing wirework and colored stones in simple settings. Ashbee designed jewellery and silver tableware. At Chipping Campden it flourished creatively, but did not prosper and went into liquidation in 1908. Some of the craftsmen stayed, contributing to the tradition of modern craftsmanship in the area.^[3][7][8]

Charles Francis Annesley Voysey (1857–1941) was an Arts and Crafts architect, also designing fabrics, tiles, ceramics, furniture and metalwork. His style combined simplicity with sophistication. His wallpapers and textiles, featuring stylised bird and plant forms in bold outlines with flat colors, were widely used.^[3] Curiously, he was not a craftsman in any of the materials for which he designed.

Morris's ideas were taken up by the New Education movement in the late 1880s, which incorporated handicraft work in schools such as Abbotsholme (1889) and Bedales (1892), and his influence has been seen in the social experiments of Dartington Hall The Dartington Hall Trust, near Totnes, Devon, United Kingdom is a charity working for the advancement of the arts, sustainability and social justice in the mid twentieth century and in the formation of the Crafts Council in 1973.^[4]

Morris & Co. traded until 1940. Its designs were bought out by Sanderson and Co. and some are still in production.^[9]

In the United States

In the United States, the terms American Craftsman The American Craftsman Style, or the American Arts and Crafts Movement, is an American domestic architectural, interior design, and decorative arts style popular from the last years of the 19th century through the early years of the 20th century. As a design movement, its popularity remained strong until the 1930s, although in the decorative arts, 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 Art Nouveau is an international movement and style of art, architecture and applied art—especially the decorative arts—that peaked in popularity at the turn of the 20th century (1890–1905). The name "Art Nouveau" is French for "new art". It is also known as Jugendstil, German for "youth style", named after the and Art Deco Art Deco is an eclectic artistic and design style which had its origins in Paris in the first decades of the 20th century. Nowadays the style is said to have been active from around 1910 until the outbreak of World War II. The style was named in the 1960s after the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes that, or roughly the period from 1910 to 1925. In Canada, the term Arts and Crafts predominates, but the term Craftsman is also recognized.^[10]

In the United States, the Arts and Crafts Movement took on a distinctively more bourgeois In sociology and political science, bourgeoisie describes a range of groups across history. In the Western world, between the late eighteenth century to now, the bourgeoisie is a social class characterized by their ownership of capital and their related culture. A member of the bourgeoisie is a bourgeois or capitalist (plural: bourgeois; flavor than in Europe. While the Europeans tried to recreate the virtuous world of craft labor that was being destroyed by industrialization, the Americans tried to establish a new source of virtue to replace heroic craft production: the tasteful middle-class home. They thought that the simple but refined aesthetics of Arts and Crafts decorative arts would ennoble the new experience of industrial consumerism, making individuals more rational and society more harmonious. In short, the American Arts and Crafts Movement was the aesthetic counterpart of its contemporary political movement:Progressivism Progressivism is a political attitude favoring or advocating changes or reform. Progressivism is often viewed in opposition to conservative or reactionary ideologies. The Progressive Movement began in cities with settlement workers and reformers who were interested in helping those facing harsh conditions at home and at work. The reformers spoke; characteristically, when in Chicago the Arts and Crafts Society began in October 1897, it was at Hull House Hull House is a settlement house in the United States that was co-founded in 1889 by Jane Addams and Ellen Gates Starr. Located in the Near West Side of Chicago, Illinois, Hull House immediately opened its doors to the recently arrived European immigrants. By 1911, Hull House had grown to 13 buildings. In 1912 the Hull House complex was completed, one of the first American settlement houses for social reform.^[11]

In the United States, the Arts and Crafts Movement spawned a wide variety of attempts to reinterpret European Arts and Crafts ideals for Americans. These included the "Craftsman The American Craftsman Style, or the American Arts and Crafts Movement, is an American domestic architectural, interior design, and decorative arts style popular from the last years of the 19th century through the early years of the 20th century. As a design movement, its popularity remained strong until the 1930s, although in the decorative arts"-style architecture, furniture, and other decorative arts such as the designs promoted by Gustav Stickley Gustav Stickley was a furniture maker and architect as well as the leading spokesperson for the American Craftsman movement, a descendant of the British Arts and Crafts movement in his magazine, The Craftsman. A host of imitators of Stickley's furniture (the designs of which are often mislabelled the "Mission Style") included three companies formed by his brothers.

Architecture

The "Prairie School The works of the Prairie School architects are usually marked by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament. Horizontal lines were thought to evoke and relate to the native prairie" of Frank Lloyd Wright Frank Lloyd Wright was an American architect, interior designer, writer and educator, who designed more than 1,000 projects, which resulted in more than 500 completed works. Wright promoted organic architecture (exemplified by Fallingwater and Graycliff), was a leader of the Prairie School movement of architecture (exemplified by the Robie House,, George Washington Maher George Washington Maher was a significant contributor to the Prairie School-style of architecture, during the first-half of the 20th century. He also was known for blending the traditional with the Arts & Crafts-style. Maher was elected a Fellow of the American Institute of Architects in 1916 and other architects in Chicago, the Country Day School movement, the bungalow A bungalow is a type of house, with varying meanings across the world. Common features to many of these definitions include being detached, low-rise (single, or one-and-a-half storey/story), and the use of verandahs. The term originated in India, deriving from the Gujarati બંગલો baá¹…galo, which in turn derives from the Hindustani बंà and Ultimate bungalow style of houses popularized by Greene and Greene Brothers Charles Sumner Greene and Henry Mather Greene (1870-1954), who established the architectural firm of Greene and Greene, were influential American architects. Active primarily in California, their bungalow houses and larger-scale ultimate bungalows are prime exemplars of the American Arts and Crafts Movement, Julia Morgan, and Bernard Maybeck are some examples of the American Arts and Crafts and American Craftsman The American Craftsman Style, or the American Arts and Crafts Movement, is an American domestic architectural, interior design, and decorative arts style popular from the last years of the 19th century through the early years of the 20th century. As a design movement, its popularity remained strong until the 1930s, although in the decorative arts Movement in architecture. Restored and landmark protected examples are still present in America, especially in Berkeley Berkeley is a city on the east shore of the San Francisco Bay in Northern California, United States. Its neighbors to the south are the cities of Oakland and Emeryville. To the north is the city of Albany and the unincorporated community of Kensington. The eastern city limits coincide with the county line (bordering Contra Costa County), which and Pasadena, California Pasadena is a city in Los Angeles County, California, United States. Famous for hosting the annual Rose Bowl football game and the Tournament of Roses Parade, Pasadena is the home of many leading scientific and cultural institutions, including the California Institute of Technology (Caltech), Pasadena City College (PCC), the Jet Propulsion, and the sections of other towns originally developed in the era and escaping post-war urban renewal.

Applied arts and crafts

Also influential are the Roycroft Roycroft was a reformist community of craft workers and artists which formed part of the Arts and Crafts movement in the USA. Elbert Hubbard founded the community in 1895 in the village of East Aurora, Erie County, New York, near Buffalo. Participants were known as Roycrofters. The work and philosophy of the group, often referred to as the community founded by Elbert Hubbard Elbert Green Hubbard was an American writer, publisher, artist, and philosopher. He was an influential exponent of the Arts and Crafts movement and is, perhaps, most famous for his essay A Message to Garcia, Joseph Marbella, utopian communities like Byrdcliffe Colony in Woodstock, New York Woodstock is a town in Ulster County, New York, United States. The population was 6,241 at the 2000 census, and Rose Valley, Pennsylvania, developments such as Mountain Lakes, New Jersey The area was inhabited by Native Americans for more than 2,800 years, with historical tribes such as the Lenape along the coast. In the early 1600s, the Dutch and the Swedes made the first European settlements. The English later seized control of the region, naming it the Province of New Jersey. It was granted as a colony to Sir George Carteret, featuring clusters of bungalow and chateau homes built by Herbert J. Hapgood, and the contemporary studio craft movement. Studio pottery Studio pottery is made by modern artists working alone or in small groups, producing unique items or pottery in small quantities, typically with all stages of manufacture carried out by one individual. Much studio pottery is table ware or cook ware but an increasing number of studio potters produce non-functional or sculptural items. Since the 1980 — exemplified by the Grueby Faience Company, Newcomb Pottery in New Orleans, Marblehead Pottery, Teco pottery, Overbeck and Rookwood pottery and Mary Chase Perry Stratton's Pewabic Pottery in Detroit,as well as the art tiles made by Ernest A. Batchelder in Pasadena, California, and idiosyncratic furniture of Charles Rohlfs all demonstrate the clear influence of Arts and Crafts Movement. Mission Style, Prairie School, and the 'California bungalow' styles of residential building remain popular in the United States today.

Publications and schools

Arts and Crafts ideals disseminated in America through journal and newspaper writing were supplemented by societies that sponsored lectures and programs.^[11] The first such was organized in Boston in the late 1890s, when a group of influential architects, designers, and educators determined to bring to America the design reforms begun in Britain by William Morris; they met to organize an exhibition of contemporary craft objects. The first meeting was held on January 4, 1897, at the Museum of Fine Arts (MFA) to organize an exhibition of contemporary crafts. When craftsmen, consumers, and manufacturers realized the aesthetic and technical potential of the applied arts, the process of design reform in Boston started. Present at this meeting were General Charles Loring, Chairman of the Trustees of the MFA; William Sturgis Bigelow and Denman Ross, collectors, writers and MFA trustees; Ross Turner, painter; Sylvester Baxter, art critic for the Boston Transcript; Howard Baker, A.W. Longfellow Jr.; and Ralph Clipson Sturgis, architect.

The first American Arts and Crafts Exhibition opened on April 5, 1897, at Copley Hall featuring over 1000 objects made by 160 craftsmen, half of whom were women. Some of the supporters for the exhibit were Langford Warren, founder of Harvard's School of Architecture; Mrs. Richard Morris Hunt; Arthur Astor Carey and Edwin Mead, social reformers; and Will Bradley, graphic designer.

The huge success of this exhibition led to the incorporation of The Society of Arts and Crafts, on June 28, 1897, with a mandate to "develop and encourage higher standards in the handicrafts." The 21 founders were interested in more than sales, and focused on the relationship of designers within the commercial world, encouraging artists to produce work with the highest quality of workmanship and design.

This mandate was soon expanded into a credo, possibly written by the SAC's first president, Charles Eliot Norton, which read:

This Society was incorporated for the purpose of promoting artistic work in all branches of handicraft. It hopes to bring Designers and Workmen into mutually helpful relations, and to encourage workmen to execute designs of their own. It endeavors to stimulate in workmen an appreciation of the dignity and value of good design; to counteract the popular impatience of Law and Form, and the desire for over-ornamentation and specious originality. It will insist upon the necessity of sobriety and restraint, or ordered arrangement, of due regard for the relation between the form of an object and its use, and of harmony and fitness in the decoration put upon it.

Design principles

The Arts and Crafts Movement started as a search for authentic design and decoration and a reaction against the styles that had developed out of machine-production.

Arts and Crafts objects were simple in form, without superfluous decoration, often showing the way they were put together. They followed the idea of "truth to material", preserving and emphasizing the qualities of the materials used. They often had patterns inspired by British flora and fauna and drew on the vernacular, or domestic, traditions of the British countryside. Several designer-makers set up workshops in rural areas and revived old techniques. They were influenced by the Gothic Revival (1830–1880) and were interested in all things medieval, using bold forms and strong colors based on medieval designs. They believed in the moral purpose of art. Truth to material, structure and function had also been advocated by A.W.N. Pugin (1812–1852), a leading exponent of the Gothic Revival.^[3]

The Arts and Crafts style was in part a reaction against the style of many of the things shown in the Great Exhibition of 1851, which were ornate, artificial 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".^[12] Design reform began with the organisers of the Exhibition itself, Henry Cole (1808–1882), Owen Jones (1809–1874), Matthew Digby Wyatt (1820–1877) and Richard Redgrave (1804–1888). Jones, for example, declared that "Ornament ... must be secondary to the thing decorated", that there must be "fitness in the ornament to the thing ornamented", and that wallpapers and carpets must have no patterns "suggestive of anything but a level or plain". These ideas were taken up by William Morris. Where a fabric or wallpaper in the Great Exhibition might be decorated in a natural motif made to look as real as possible, a William Morris wallpaper, like the Artichoke design illustrated above, would use a flat and simplified natural motif. In order to express the beauty inherent in craft, some products were deliberately left slightly unfinished, resulting in a certain rustic and robust effect.

By the end of the nineteenth century, Arts and Crafts ideals had affected the design and manufacture of all the decorative arts in Britain.

Social principles

The Arts and Crafts movement was influenced by Ruskin's social criticism, which sought to relate the moral and social health of a nation to the qualities of its architecture and design. Ruskin thought the machine was at the root of many social ills and that a healthy society depended on skilled and creative workers. Like Ruskin, Arts and Crafts artists tended to oppose the division of labor and to prefer craft production, in which the whole item was made and assembled by an individual or small group. They were concerned about the decline of rural handicrafts, which accompanied the rise of industry, and they regretted the loss of traditional skills and creativity.

Whereas Cole, Jones and Wyatt had accepted machine production, Morris wedded design criticism to social criticism, insisting that the artist should be a craftsman-designer.^[12] Morris and others, for example, Walter Crane and C.R.Ashbee (1863–1942), looked forward to a society of free craftspeople, which they believed had existed in the Middle Ages. "Because craftsmen took pleasure in their work", Morris wrote, "the Middle Ages was a period of greatness in the art of the common people. ... The treasures in our museums now are only the common utensils used in households of that age, when hundreds of medieval churches - each one a masterpiece - were built by unsophisticated peasants."^[13]

There was some disagreement as to whether the machine should be rejected completely. Ashbee sought a compromise between the efficiency of the machine and the skill of the craftsman and tried to find a way in which the craftsman might master the machine rather than becoming its slave: "we don´t reject the machine: we consider it to be beneficious, but we would like to se it beeing dominated by man" (Pevsner: Los pioneros) Morris was not entirely consistent. He thought production by machinery was "altogether an evil",^[12] but when he could find manufacturers willing to work to his own exacting standards, he would get them to make his designs.^[14] He said that, in a "true society", where neither luxuries nor cheap trash were made, machinery could be improved and used to reduce the hours of labour.^[15] Ashbee, after twenty years of pitting his Guild and School of Handicraft guild against modern methods of manufacture, acknowledged that "Modern civilization rests on machinery."^[12] In Germany, Hermann Muthesius and Henry Van de Velde, leading figures in the Deutscher Werkbund (DWB), held opposing views. Muthesius, who was head of design education for the German Government, championed mass production, standardisation and an affordable, democratic art; Van de Velde thought mass production threatened creativity and individuality.

The movement was associated with socialist ideas in the persons of Morris, Crane and Ashbee. Morris eventually spent more of his time on socialist propaganda than on designing and making. Ashbee set up a utopian community of craftsmen.

Influences on later design

Widely exhibited in Europe, the Arts and Crafts movement's qualities of simplicity and honest use of materials inspired designers like Henry van de Velde and movements such as Art Nouveau, the Dutch De Stijl group, Vienna Secession, and eventually the Bauhaus. Pevsner regarded the movement as a prelude to Modernism, which made use of simple forms without ornamentation.^[12]

The Irish Arts and Crafts movement is represented by the Honan Chapel (1916) in Cork in the grounds of University College Cork.

In Russia, Viktor Hartmann, Viktor Vasnetsov and other artists associated with Abramtsevo Colony sought to revive the spirit and quality of medieval Russian decorative arts in the movement quite independent from that flourishing in Great Britain.

The Wiener Werkstätte, founded in 1903 by Josef Hoffmann and Koloman Moser, played an independent role in the development of Modernism, with its Wiener Werkstätte Style.

In Japan, Soetsu Yanagi, creator of the Mingei movement promoting folk art in the 1920s, shared the contemporary Japanese interest in Morris and Ruskin and was influenced by the Arts and Crafts Movement.^[13]

The British Utility furniture of the 1940s was simple in design and based on Arts and Crafts models. Gordon Russell, chairman of the Utility Furniture Design Panel, manufactured in the Coltswolds, which had become a center of Arts and Crafts furniture when Ashbee moved there.

Arts and Crafts buildings in Australia and New Zealand

Examples

• Derwent House
• Gamble House (Pasadena, California)
• Oregon Public Library
• Asilomar Conference Grounds
• Blackwell (historic house) - an arts and crafts style house in the Lake District of England, built at the turn of the 20th century.
• Robert R. Blacker House
• Red House(London)
• Thorsen House

Leading practitioners

Notes

1. ^ Roger Dixon and Stephan Mathesius, Victorian Architecture, London: Thames and Hudson, 1978 ISBN 0-500-18163-2
2. ^ John Lewis and John Brinckley, Graphic Design, Routledge and Kegan Paul, 1954
3. ^ ^{a b c d} Victoria and Albert Museum
4. ^ ^{a b c d e} Fiona McCarthy, William Morris, London: Faber and Faber, 1995 ISBN 0-571-17495-7
5. ^ Parry, Linda, William Morris and the Arts and Crafts Movement: A Sourcebook, New York, Portland House, 1989 ISBN 0-517-69260-0
6. ^ Crane, Walter, "Of the Arts and Crafts Movement", in Ideals In Art: Papers Theoretical Practical Critical, George Bell & Sons, 1905
7. ^ Utopia Britannica
8. ^ Court Barn Museum
9. ^ Sanderson Fabrics
10. ^ Metropolitan Museum of Art: Monica Obniski, "The Arts and Crafts Movement in America"
11. ^ ^{a b} Obniski.
12. ^ ^{a b c d e} Nikolaus Pevsner, Pioneers of Modern Design, Yale University Press, 2005, ISBN 0 300 10571 1
13. ^ ^{a b} 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
14. ^ Graeme Shankland, "William Morris - Designer", in Asa Briggs (ed.) William Morris: Selected Writings and Designs, Harmondsworth: Penguin, 1980 ISBN 0-14-02-0521-7
15. ^ William Morris, "Useful Work versus Useless Toil", in Asa Briggs (ed.) William Morris: Selected Writings and Designs, Harmondsworth: Pengin, 1980 ISBN 0-14-02-0521-7

References

• Boris, Eileen. Art and Labor, Philadelphia: Temple University Press, 1986 ISBN 0-87722-384-X
• Cathers, David M. Furniture of the American Arts and Crafts Movement. The New American Library, Inc., 1981. ISBN 0-453-00397-4
• Cumming, Elizabeth, and Kaplan, Wendy, Arts & Crafts Movement, London: Thames & Hudson, 1991 ISBN 0-500-20248-6
• Cumming, Elizabeth, Hand, Heart and Soul: The Arts and Crafts Movement in Scotland, 2006, Birlinn ISBN 978-1841584195.
• Kaplan, Wendy, The Art that Is Life: The Arts & Crafts Movement in America 1875-1920. New York: Little Brown and Company, 1987
• Parry, Linda, Textiles of the Arts and Crafts Movement, London: Thames and Hudson, 2005 ISBN 0-500-28536-5

External links

• The Arts & Crafts Society
• Craftsman Perspective site devoted to Arts and Crafts architecture
• Mary Watts - Cemetery Chapel In Pictures - Icon of the Arts & Craft Movement
• "Arts and Crafts Style Guide". British Galleries. Victoria and Albert Museum. http://www.vam.ac.uk/vastatic/microsites/british_galleries/bg_styles/Style09a/index.html. Retrieved 2007-07-17.
• What is Arts and Crafts
• Research resources on the Arts and Crafts at the Winterthur Library
• Hewn and Hammered dedicated to discussion of the Arts & Crafts movement in art, architecture & design

Categories: Arts and Crafts Movement | Arts and Crafts architects | Architectural styles | Art movements | Arts in the United Kingdom | Arts in the United States | British art | Crafts | Decorative arts | History of furniture | Modern art | Edwardian era

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• Arts and Crafts Movement
• Arts and Crafts Movement
• Arts and Crafts Movement: Encyclopedia
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