Arts and Crafts movement
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| + | The '''Arts and Crafts movement''' was an international trend in the [[Decorative arts|decorative]] and [[fine arts]] that developed earliest and most fully in the British Isles and subsequently spread across the British Empire and to the rest of Europe and America. | ||
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| + | Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. Some consider that it is the root of the [[Modern Style (British Art Nouveau style)|Modern Style]], a British expression of what later came to be called the [[Art Nouveau]] movement. Others consider that it is the incarnation of Art Nouveau in England. | ||
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| + | Others consider Art and Crafts to be in opposition to Art Nouveau. Arts and Crafts indeed criticized Art Nouveau for its use of industrial materials such as iron. And as for Art Nouveau artists, the Arts and Crafts utopia was intrinsically contradictory: "the paradoxical confinement of the Arts & Crafts movement in an artisanal practice was completely out of step with the evolution of the status of the artist-decorator, but also with the democratic will of an art “for the people and by the people” proclaimed by William Morris". For example if [[Henry van de Velde]] understands the social discourse of Arts and Crafts, he is not an unconditional disciple of it. And he will end up turning away from it, considering it as anachronistic and tinged with quixoticism. | ||
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| + | In Japan, it emerged in the 1920s as the [[Mingei]] movement. It stood for traditional craftsmanship, and often used [[Medievalism|medieval]], [[Romanticism|romantic]], or [[Folk art|folk]] styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation. It had a strong influence on the arts in Europe until it was displaced by [[Modernism]] in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards. | ||
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| + | The term was first used by [[T. J. Cobden-Sanderson]] at a meeting of the [[Arts and Crafts Exhibition Society]] in 1887, although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of historian [[Thomas Carlyle]], art critic [[John Ruskin]], and designer [[William Morris]]. In Scotland, it is associated with key figures such as [[Charles Rennie Mackintosh]]. Viollet le Duc's books on nature and Gothique art also play an essential part in the esthetics of the Arts and Crafts movement. | ||
| ==See also== | ==See also== | ||
Revision as of 11:47, 12 April 2024
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"The Arts and Crafts Movement began primarily as a search for authentic and meaningful styles for the 19th century and as a reaction to the eclectic historicism of the Victorian era and to 'soulless' machine-made production aided by the Industrial Revolution. Considering the machine to be the root cause of all evils, the protagonists of this movement turned away from the use of machines and towards handcraft, which tended to concentrate their productions in the hands of sensitive but well-heeled patrons."--Sholem Stein |
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The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles and subsequently spread across the British Empire and to the rest of Europe and America.
Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. Some consider that it is the root of the Modern Style, a British expression of what later came to be called the Art Nouveau movement. Others consider that it is the incarnation of Art Nouveau in England.
Others consider Art and Crafts to be in opposition to Art Nouveau. Arts and Crafts indeed criticized Art Nouveau for its use of industrial materials such as iron. And as for Art Nouveau artists, the Arts and Crafts utopia was intrinsically contradictory: "the paradoxical confinement of the Arts & Crafts movement in an artisanal practice was completely out of step with the evolution of the status of the artist-decorator, but also with the democratic will of an art “for the people and by the people” proclaimed by William Morris". For example if Henry van de Velde understands the social discourse of Arts and Crafts, he is not an unconditional disciple of it. And he will end up turning away from it, considering it as anachronistic and tinged with quixoticism.
In Japan, it emerged in the 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation. It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards.
The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887, although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of historian Thomas Carlyle, art critic John Ruskin, and designer William Morris. In Scotland, it is associated with key figures such as Charles Rennie Mackintosh. Viollet le Duc's books on nature and Gothique art also play an essential part in the esthetics of the Arts and Crafts movement.
See also
- Modern Style (British Art Nouveau style)
- Philip Clissett
- The English House
- Charles Prendergast
- William Morris wallpaper designs
- William Morris textile designs
- History of schools of economic thought on arts and culture
