Arts Architects works

8/13/2019 Arts Architects works

1/17

ARUN PRAKASH

AEY3062S4barch


2/17

The ARTS AND CRAFTS MOVEMENT was a reformist movement, at

first inspired by the writings of John Ruskin, that was at its height ca. 1880-

1910.

The movement influenced British decorative arts, architecture, cabinet

making, crafts,the 'cottage' garden designs of William Robinson or GertrudeJekyll.

Its best known practitioners were William Morris, Charles Robert Ashbee,

T. J. Cobden Sanderson, Walter Crane, Charles Rennie Mackintosh andartists in the Pre-Raphaelite movement.

It was part of the major English aesthetic movement of the last years of the

19th century.

In the United States the term is often used to denote the style of interiordesign that prevailed between the dominant eras of Art Nouveau and Art

Deco, or roughly the period from 1910 to 1925.


3/17

The Arts and Crafts Movement began in England in the

1860s as a reform movement.

Its primary proponents were John Ruskin (1819-1900)and William Morris (1834-1896).

Ruskin, itsphilosophical leader, was the most influential

of all Victorian writers on the arts and a member of the

Pre-Raphaelite movement.

The Pre-Raphaelitesbelieved the medieval worldwaspurer in form than the post-Renaissance world because it

was more closely tied to nature.


4/17

Wall painting

On glass


5/17

WILLIAM MORRIS.

Along with architect Philip Webb, painter Dante Gabriel Rossetti, he

founded Morris & Co. in 1875.

The guild was to create simple furniture, stained glass, and even

wallpaper that united beauty, craftsmanship, and utility.

He also founded the Kelmscott Press, a small book printing and

binding company that became known for its outstanding examples of

the book arts.

He used the press to publish many of his own writings, therebypromoting the Arts and Crafts movement in both the content and style

of the books.


6/17

influenced by socialism.

He believed society would be vastly improved by a

return to the pre-industrial revolution days where

craftsmen were both the designers and the

manufacturers of products.

Succinctly put, Morris sought to reunite "head and

hand."


7/17

Morris was not wholly successful in translating the

Arts and Crafts philosophy into a practical application.

obstacles

how to produce beautiful handcrafted

items that could be affordable to the

working classes.

most British Arts and Crafts itemsremained the luxury of the upper classes.

Beginning in the 1880s, major

exhibitions of materials identified as"Arts and Crafts" were held.


8/17

RUSKIN

Ruskin believed the decorative arts affected the men

who produced them.

The machine dehumanized the worker and led to aloss of dignity because it removed him from the artistic

process and thus, nature itself.

As Ruskin stated, "all cast from the machine is bad,as work it is dishonest."


9/17

Ruskin_ the philosophical foundation of the Arts andCrafts Movement

William Morris who became its leader.

Morris took Ruskin's ideas about nature, art, morality,and the degradation of human laborand translated them

into a unified theory of design.

Morris successfully wedded aesthetics and social reforminto the Arts and Crafts Movement.


10/17

Parallel movements emerged around the world, Arts and Crafts

laid the foundations for international approaches to design and

lifestyle in the 20th century through new attitudes to work,

design and the home.

Movement from its flourishing in Britain in the 1880s, through

the widespread espousal of Arts and Crafts ideals and their

interpretation and development in America and Europe, to its

final manifestation as the Mingei (folk craft) movement in

Japan from 1926 to 1945

Global Influence

1 Britan2 America

3 central and northern Europe and Scandainavia

4 Japan


11/17

Britain

The British movement focused on the richly

detailed gothic style. Their interior walls were

either white-washed or covered in wallpaper

depicting medieval themes.

The pottery and textile designs were

intricate, colorful and realistic. While the

original intent was to provide handmade goodsto the common man, the cost ofpaying

craftsmen an honest wage resulted in higher

prices than the common man could afford.

This limited the movement to the upper class.


12/17

AMERICA

America, the Arts and Crafts Movement became

a focus for the development of a national style.

America looked to its own heritage such asnative American and Indian Crafts for inspiration.

bolderand more commercially aware than in

Britain, influencing domestic design across theUnited States.

Arts and Crafts in the Eastern Seaboard, the

Midwest and California, was adapted according to

climate, geography and lifestyle.


13/17

The American movement drew inspiration from the

materials, choosing to highlight the grain of the wood orthe form of the pot.

walls of rich wood tones, relegating wallpaper to borders.

Paints were in rich earth tones.

Furniture and architectural details were designed to take

advantage of machines allowing the individual craftsmen to

assemble the furniture and finish the wood.

The use of machines lowered the cost, making thefurniture, pottery and metalwork affordable and therefore

available to "the people".


14/17

In Europe and Scandinavia,

organizations and groups of artistsmodeled themselves on the guilds and

communities in Britain.

Designed objects inspired by a strong

sense of nationalism.

Traditional techniques were revived andcombined with a modern style that was

both ageless and innovative

CENTRAL AND NORTHERN EUROPE AND SCANDINAVIA


15/17

The Mingei (Folk craft) movement in Japan was the last

significant manifestation of the Arts and Crafts Movement.

Mingei was a radical, modern, urban,progressive movement.

It grew out of the association of Soetsu Yanagi with Shoji

Hamada, Tomimoto Kenkichi, Kawai Kanjiro and the

Englishman, Bernard Leach, in the 1920s.

JAPAN


16/17


17/17

THE END

Thank you

Documents

Arts Architects works