Arts and Crafts Style by Isabelle Anscombe

By Isabelle Anscombe

The humanities and Crafts movement
flowered within the 1870s and 80s as a
reaction to the ornamental excesses of
the mid-nineteenth century. At its
heart used to be a look for a go back to
simplicity, quiet attractiveness and honesty
of development. there isn't any single
recognisable variety that represents
Arts and Crafts an inside may perhaps be
exotic and priceless, with rich
colours and styles, or homely and
plain, so long as it adhered to the
Arts and Crafts perfect of hand
craftsmanship. The craft workshops
and guilds, created in idealized
imitation in their medieval
counterparts, produced furnishings and
textiles, metalwork and ceramics
which raised the prestige of such
objects from minor household
articles to the ornamental arts.
Arts & Crafts sort is a richly
illustrated survey of this middle-class
revolution in aesthetic style, which
draws jointly its many different
strands and appears specifically at
how the fashion was once interpreted
internationally, all through Europe
and America.
Introduction 7
PART ONE
Coherence Out of Chaos
The look for a brand new type 1 three • the alternative of Gothic 21
Stained Glass 34 William Morris 36 • Morris and corporate 38
The Victorian worry of Chaos forty three • The Martin Brothers 47
William Burges 48
PART TWO
The Exploration of Arts and Crafts Ideals
A New Gospel is unfold fifty three • The artwork Chair sixty eight • C. R. Ashhee 70
Entertainment seventy two • inner most Presses seventy four • Gustav Stickley 76
An Eclectic sort seventy nine • E. W. Godwin ninety Christopher wardrobe 91
Louis convenience Tiffany 94
PART THREE
The Popularization of the Movement
The Refinement of the fashion ninety nine • C F. A. Voysey 112
Gimson and the Barnsleys 1 14 - Wallpapers 1 sixteen • Carpets 120
Metalworlc 123 • A Middle-class Enthusiasm one hundred twenty five • lights 135
The Hospitable Board 1 38 • Tiles one hundred forty The Nursery 142
Illustrators 146 • The Benediction of excellent flavor 149
Embroidery one hundred fifty five • American Ceramics 156 • Eashion 158
Jewellery 162
PART FOUR
Into the 20th Century
New Departures 167 • Charles Rennie waterproof coat 176
josef Hoffmann and the Wiener Werkstdtte 180
Richard Riemerschmid 182 • Textiles 184
A moment iteration translates the fashion 187
Frank Lloyd Wright 196 • Greene and Greene 201
Garden layout 202
PART FIVE
The carrying on with effect of the Movement
The smooth stream is Born 209 a continuous Legacy 215
British Artist-Potters 224
Bibliography 226
Acknowledgements 229
Index 230

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They wanted a practise traditional crafts, wider definition of the G. master, style that stressed simplicity struction based Following in the arts'. effect continued unabated. These elements were combined in a new, eclectic up the St George's Art Society to include ture as well as the return to basics via the study of Century the chitects from Richard championed by Pugin, ture construction explaining Fifteen, a discussion it that, as 'a club for knows, everybody 'as artists', The group founded a year or two before under artists are the secretaryship of the successful freelance many of this first generation of Arts and Crafts designers took in being cranks - designer, Lewis F.

Burges The architect employed human situ- and designer William devices on his as a muralist and such as E. something so sense. decorator for him (and also for other architects is in these fancies, they and absurd yet so funny and attractive, that they remind us of nothing so much as the good old nursery rhymes. They are nonsense indeed, but good non- such who worked There human disturbingly are so impossible painted furniture, often executed by Henry Stacy Marks, pieces: Wallace's Another form of the grotesque echoed W.

A. also designed furniture for the firm, Green Dining-Room at the South Kensington Museum, the Armoury and Tapestry Rooms at St James's Palace or the interiors at 1 Palace Green, built in 1868-70 by Philip Webb for George Howard, later 9th Earl of Carlisle, was Morris welcomed the by and metalwork by John Pearson, who had worked with C. R. Ashbee's Guild of Handicraft. S. 1860s, creating furnishings for medieval-style interiors. The work executed financial security. But they also took in stock from outside sources - items such embroideries, gesso decoration and wall- paper as well as furniture and stained glass during the »: provided regular sales of repeat orders and gave the In addition to their ecclesiastical work, Morris, Marshall, tiles, tapestries, Webb tons, damasks, brocaded velvets, silks until L, 38 it went into voluntary liquidation in 1940.

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