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 good looks and honesty
of building. there is not any single
recognisable variety that represents
Arts and Crafts an inside may well be
exotic and important, 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 sort 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 paintings Chair sixty eight • C. R. Ashhee 70
Entertainment seventy two • inner most Presses seventy four • Gustav Stickley 76
An Eclectic variety 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 20 th Century
New Departures 167 • Charles Rennie waterproof coat 176
josef Hoffmann and the Wiener Werkstdtte 180
Richard Riemerschmid 182 • Textiles 184
A moment new release translates the fashion 187
Frank Lloyd Wright 196 • Greene and Greene 201
Garden layout 202
PART FIVE
The carrying on with impact of the Movement
The glossy flow is Born 209 a continual Legacy 215
British Artist-Potters 224
Bibliography 226
Acknowledgements 229
Index 230

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COHERENCE OUT OF CHAOS r+=*% :»« rjtz IT MORRIS AND COMPANY William Morris's drawing room at Hammersmith House 1! in 1896, showing various Morris and Co. products, including Morris's woven by William de Morgan, and an adjustable 'Bird' tapestry, pottery armchair and both based on designs by Philip a settle, rugs, Faulkner and Co. experimented with painted earthenware company for such early commissions who as light fittings as the Benson, textiles, expensive but of very high quality. required a return to basic techniques.

Stained glass, and furniture; even the basins Lord Bute's bedroom were enhanced by Burges with Tower the cornice of the chimney-piece Burges, in fact the son of a wealthy marine engineer, had than had Morris and the Pre-Raphaelite painters, who merely added painted panels to a wooden carcass. Burges designed his furniture specifically for the decoration he had in mind, and linked the theme of the painting to the func- tion of the piece for instance, - the letters of the Sleeping Beauty on room or Narcissus on alphabet in his library, a bed, mermaids in a bath- a washstand.

Charles Bevan also prolific designer factories, Ohio or Cincinnati, as and walnut, could respond 1871, illustrated pieces (possibly ture' for such tions of Hints on Household Taste, Eastlake was at pains to deny authorship of such furniture. The those accurate re-creation of the medieval published by Christopher Dresser, in dark- world desired by Pugin or Ruskin had been coloured inlays against lighter woods, as side-stepped, well as producing ebonized pieces. legend or noble chivalry remained current In America, the greatest popularizer of secular images but of Arthurian well into the present century, demonstrat- Gothic was Charles Locke Eastlake, of the Royal Academy painter.

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