They were more concerned with ornamentation than construction, they had an incomplete understanding of methods of manufacture, and they did not criticise industrial methods as such. However, the design reformers of the mid-19th century did not go as far as the designers of the Arts and Crafts movement. This chapter from The Stones of Venice was a sort of manifesto for the Arts and Crafts movement. " Utility must have precedence over ornamentation." The Nature of Gothic by John Ruskin, printed by William Morris at the Kelmscott Press in 1892 in his Golden Type inspired by the 15th-century printer Nicolas Jenson. Redgrave insisted that "style" demanded sound construction before ornamentation, and a proper awareness of the quality of materials used. A fabric or wallpaper in the Great Exhibition might be decorated with a natural motif made to look as real as possible, whereas these writers advocated flat and simplified natural motifs. Jones 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 not have any patterns "suggestive of anything but a level or plain". The Grammar of Ornament was particularly influential, liberally distributed as a student prize and running into nine reprints by 1910. Other works followed in a similar vein, such as Wyatt's Industrial Arts of the Nineteenth Century (1853), Gottfried Semper's Wissenschaft, Industrie und Kunst ("Science, Industry and Art") (1852), Ralph Wornum's Analysis of Ornament (1856), Redgrave's Manual of Design (1876), and Jones's Grammar of Ornament (1856). Richard Redgrave's Supplementary Report on Design (1852) analysed the principles of design and ornament and pleaded for "more logic in the application of decoration." The organizers were "unanimous in their condemnation of the exhibits." Owen Jones, for example, complained that "the architect, the upholsterer, the paper-stainer, the weaver, the calico-printer, and the potter" produced "novelty without beauty, or beauty without intelligence." From these criticisms of manufactured goods emerged several publications that set out what the writers considered to be the correct principles of design. ĭesign reform began with Exhibition organizers Henry Cole (1808–1882), Owen Jones (1809–1874), Matthew Digby Wyatt (1820–1877), and Richard Redgrave (1804–1888), all of whom deprecated excessive ornament and impractical or badly-made things. Art historian Nikolaus Pevsner writes that the exhibits showed "ignorance of that basic need in creating patterns, the integrity of the surface", as well as displaying "vulgarity in detail". Their critique was sharpened by the items that they saw in the Great Exhibition of 1851, which they considered to be excessively ornate, artificial, and ignorant of the qualities of the materials used. It was a reaction against a perceived decline in standards that the reformers associated with machinery and factory production. The Arts and Crafts movement emerged from the attempt to reform design and decoration in mid-19th century Britain. Viollet le Duc's books on nature and Gothique art also play an essential part in the esthetics of the Arts and Crafts movement. In Scotland, it is associated with key figures such as Charles Rennie Mackintosh. It was inspired by the ideas of historian Thomas Carlyle, art critic John Ruskin, and designer William Morris. 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 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. It advocated economic and social reform and was anti-industrial in its orientation. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. In Japan, it emerged in the 1920s as the Mingei movement. It is the root of the Modern Style, the British expression of what later came to be called the Art Nouveau movement, which it strongly influenced. 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 18. 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. William Morris' design for Trellis wallpaper, 1862 For other uses, see Arts & Crafts (disambiguation). For handicrafts generally, see Handicraft. This article is about the art and design movement.
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