Architecture Dictionary. No Small Plans. Privacy Policy. Search Tickets. River Cruise. All Tours. All Exhibits. He wanted to free the working classes from the frustration of a working day focused solely on repetitive tasks, and allow them the pleasure of craft-based production in which they would engage directly with the creative process from beginning to end.
Morris was himself inspired by the ideas of the Victorian era's leading art critic John Ruskin — , whose work had suggested a link between a nation's social health and the way in which its goods were produced. Ruskin argued that separating the act of designing from the act of making was both socially and aesthetically damaging.
The Arts and Crafts movement was also influenced by the work of Augustus Pugin — An interior designer and architect, Pugin was a Gothic revivalist and a member of the Design Reform Movement. He had helped challenge the mid-Victorian fashion for ornamentation, and, like Morris, focused on the medieval period as an ideal template for both good design and good living.
In the final decade of the 19th century and into the 20th, the Arts and Crafts movement flourished in large cities throughout the UK, including London, Birmingham, Manchester, Edinburgh and Glasgow.
These urban centres had the infrastructure, organisations and wealthy patrons it needed to gather pace. Exhibition societies inspired by the original one in London helped establish the Movement's public identity and gave it a forum for discussion. Members of the Arts and Crafts community felt driven to spread their message, convinced that a better system of design of manufacture could actively change people's lives.
Between and this strong sense of social purpose drove the creation of over a hundred organisations and guilds that centred on Arts and Crafts principles in Britain.
Progressive new art schools and technical colleges in London, Glasgow and Birmingham encouraged the development of both workshops and individual makers, as well as the revival of techniques, including enamelling, embroidery and calligraphy.
This commercial distribution helped the Movement's ideas reach a much wider audience. A particular feature of the Arts and Crafts movement was that a large proportion of its leading figures had trained as architects. This common culture helped develop a collective belief in the importance of designing objects for a 'total' interior: a space in which architecture, furniture, wall decoration, etc.
As a result, most Arts and Crafts designers worked across an unusually wide range of different disciplines. In a single career someone could apply craft-based principles to the design of things as varied as armchairs and glassware. Arts and Crafts also had a significant impact on architecture. Figures including Philip Webb, Edwin Lutyens, Charles Voysey and William Lethaby quietly revolutionised domestic space in buildings that referenced both regional and historical traditions. Florence Koehler — , a charter member of the Chicago Arts and Crafts Society, taught china painting , jewelry, and metalsmithing.
After studying jewelry and enamelwork in London, she referenced historic design, especially Renaissance sources Marie Zimmermann — began her artistic career as a jewelry designer and later expanded her metalsmithing to include ornamental garden and home objects. An idiosyncratic designer, Zimmermann studied foreign cultures for inspiration, including Egypt Without a singular philosophy, diversity persevered within the Arts and Crafts movement as a mixture of individuals worked in diverse locations.
There were regional differences due to the geographical distribution from the East Coast, to the Midwest, to California. Craftsmen used a wide range of source material to produce handwrought objects. Arthur J. Stone — , a dedicated member of the Boston Society of Arts and Crafts, produced silver objects that were conservative in design. An Englishman who emigrated to the United States, Stone opened his silver shop in Gardner, Massachusetts, where he initially executed all pieces himself.
When the business expanded, he hired additional craftsmen to make individual works There were also creative designers with unique vision, such as Charles Rohlfs — , who worked in Buffalo, New York. Rohlfs eschewed industrial production methods, preferring to craft individual pieces of furniture Gustav Stickley — , founder of The United Crafts later known as the Craftsman Workshops , was a proselytizer of the craftsman ideal.
He also published the highly influential The Craftsman —16 , a beacon for the American Arts and Crafts movement. The ideal home that emerged had an open-planned interior shaped by a color palette that reflected the natural environment. Articles and illustrations presented decorating suggestions, including the use of colors, type of furniture, and decorative accessories, such as rugs and pottery. Period sources embraced Grueby Pottery for its innovative interpretation of nature and craftsmanship.
Founded by William Grueby — , the pottery was known for naturally shaped vessels with matte green glaze In addition to pottery, lighting was also an important element that contributed to the ideal Arts and Crafts interior. The copper electric table lamp Additionally, a Native American undercurrent developed during the Arts and Crafts movement, as evidenced by fashionable Indian-style baskets and textiles featured in Arts and Crafts exhibitions and publications.
Many collected baskets to display in their Indian corners, which may have inspired Louis Comfort Tiffany — to design a hanging shade in an Indian basket motif Frank Lloyd Wright — shaped a new way of living through his completely designed environments, encompassing architecture and all elements of interiors.
He ushered in a style of architecture that became known as the Prairie School, characterized by low-pitched roofs, open interiors, and horizontal lines that reflected the prairie landscape. This architecture, which utilized natural materials such as wood, clay, and stone, sparked a revolutionary shift in the American interior However, plain surfaces with minimal decorative embellishments were suited to incorporating the machine, resulting in furniture with intense rectilinearity and natural surfaces.
Purcell, Feick and Elmslie as the firm was known between and with the addition of George Feick Jr. Cross House in Minneapolis in The firm specialized in residences with artistic interiors especially for a middle-class clientele, although they certainly worked for wealthy patrons as well using organic decorative elements. Like Wright and Purcell, Feick and Elmslie, Charles Sumner Greene — and Henry Mather Greene — , California architect-designers of the period, were interested in domestic architecture incorporating the interior as a total work of art.
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