Arts and Crafts Movement

1850 - 1900

Patricia Sumod 1
 Arts and Crafts Movement
Arts and Crafts was an international design movement that 1850 - 1900
flourished between 1860 and 1910, especially in the second half of
that period, continuing its influence until the 1930s.
This movement was a reaction against the Industrial Revolution.
The development of the steam engine by James Watt in 1765 led to
the mechanization of industry, agriculture and transportation and
changed the life of the working man in Britain. The cities and towns
grew to accommodate the expanding industries and the influx of
workers from the countryside looking for employment.
Living standards gradually deteriorated and industrialization left
people with a sense that their life had changed for the worst. Many
had sacrificed a rural lifestyle 'in England's green and pleasant land' for
the sake of a job in the 'dark Satanic mills' of the Industrial Revolution.
As a result, they lost that feeling of security and belonging which
comes from living in smaller communities
It was led by the artist and writer William Morris (18341896) and
the architect Charles Voysey (1857-1941) during the 1860s,and was
inspired by the writings of John Ruskin (18191900) and Augustus
Pugin (1812-1852).
It developed first and most fully in the British Isles, but spread to
Europe and North America. It was largely a reaction against the
impoverished state of the decorative arts at the time and the
conditions in which they were produced.
It stood for traditional craftsmanship using simple forms and often
applied medieval, romantic or folk styles of decoration. It advocated
William Morris - 'Tulip and Willow'
economic and social reform and has been said to be essentially anti- Pencil and Water-colour sketch for print
industrial. design, 1873

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 Arts and Crafts Movement
The Arts and Crafts style started as a search 1850 - 1900
for aesthetic design and decoration and a
reaction against the styles that were
developed by machine-production.

Arts and Crafts objects were simple in form,

without unnecessary decoration, and how they
were constructed was often still visible. They
tended to emphasize the qualities of the
materials used ("truth to material"). They often
had patterns inspired by British flora and
fauna and used the vernacular, or domestic, William Morris - 'Windrush'
traditions of the British countryside. Several Pencil and Watercolour sketch for
designer-makers established workshops in rural textile design, 1881-83
areas and revived old techniques. They were
influenced by the Gothic Revival (18301880)
and were interested in medieval styles, using
bold forms and strong colors based on
William Morris - 'Trellis'
medieval designs. They claimed to believe in Wallpaper Design, 1864
the moral purpose of art, true to material, The first page of The Nature of Gothic by
structure and function which had also been John Ruskin, printed by William Morris at
the Kelmscott Press during 1892 and set
advocated by A.W.N. Pugin (18121852), an in the Golden type, inspired by the 15th
exponent of the Gothic Revival. century printer Nicolas Jenson.

The Arts and Crafts style was partly also a reaction against the style of many of
the items shown in the Great Exhibition of 1851, which were ornate, artificial and
ignored the qualities of the materials used. The art historian Nikolaus Pevsner has
said that exhibits in the Great Exhibition showed "ignorance of that basic need in
creating patterns, the integrity of the surface" and "vulgarity in detail.
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 Arts and Crafts Movement - 1850 - 1900
Design reform began with the organizers of the
Exhibition itself, Henry Cole (18081882), Owen
Jones (18091874), Matthew Digby Wyatt (1820
1877) and Richard Redgrave (18041888). Jones,
for example, 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".

These ideas were adopted by William Morris.

Where a fabric or wallpaper in the Great Exhibition
might be decorated with a natural motif made to
look as real as possible, a Morris & Co. wallpaper, "Artichoke" wallpaper, by John Henry Dearle for
like the Artichoke design illustrated, would use a William Morris & Co., circa 1897 (Victoria and
Albert Museum).
flat and simplified natural motif. In order to express
the beauty of craft, some products were
deliberately left slightly unfinished, resulting in a
certain rustic and robust effect.

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Arts and Crafts Movement
1850 - 1900

By the end of the nineteenth century, Arts and Crafts ideals

had influenced architecture, painting, sculpture, graphics,
illustration, book making and photography, domestic design
and the decorative arts, including furniture and woodwork,
stained glass, leatherwork, lace-making, embroidery, rug
making and weaving, jewelry and metalwork, enameling
and ceramics.

Some designers, such as Christopher Dresser (1834-1904)

whose work still looks remarkably modern, started to reject
the limitations of the Arts and Crafts ideals and positively
embrace the techniques of industrial manufacturing. This
was the start of a design evolution that would eventually
culminate in the foundation of the Bauhaus school of art
and design which became the prototype for art education in
the 20th century.

Sedding (1838-1891) was an inventive and admired architect working in the

Arts and Crafts manner, mostly as a church architect. He also designed
metalwork, wallpaper, and embroidery, andSumod
Patricia later, gardens. 5
Arts and Crafts Movement
William de Morgan
1850 - 1900
Ceramic tile produced
between 1839-1917
This beautiful tile has the sourced from
vibrant colors used in the Arts & worldcollectorsnet.com
Crafts movement and the leafy
natural background that was
also widely used. This artist
worked with William Morris,
which shows in the composition
of the image, and the medieval
influence. He was also inspired
by Persian designs which you
can see in the paisley-esque
shape of the flowers.

Retro influenced poster uses an updated

border design inspired from this movement.
However the illustration is more like Art
Nouveau, a style that was popular around
the turn of the century.
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 Arts and Crafts Movement
1850 - 1900

Pic.I Influences of this movement can

be seen here on the Morris chair
designed by architect Philip
Webb. The fabric and the wood-
work combine to give this design
an oriental feel.

Pic.II A typical Arts & Crafts interior.

Although too ornamental for
contemporary standards, one
can see more restrain and
harmony as compared to the
Victorian styles of opulence and
excess.

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 Arts and Crafts Movement
1850 - 1900
The Arts & Crafts style emphasized on
proportion, simplicity of form, fitness,
functionality, honesty to materials and
enhancement of natural textures.

This chair reveals the above qualities. The wood-

word has emphasis in its engineering and
construction rather than just being ornamental.

Work of Frank Lloyd Wright, influenced by the

Arts & Crafts Movement. Every element in the
dining room, from the carpet to the lights, the
art-glass windows was designed by him.

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 Arts and Crafts Movement
1850 - 1900
Morris designed carpet, textiles and
wallpaper. His love for patterns and textures
show through this example inspired by
medieval motifs. The dominant decorative
form is natural forms inspired from plants.
Morris was popular for his ability to create
balance and harmony within complexity.

This living room embodies the Arts & Crafts

ideal of design unity also known as
Geasamtkunstwerk (German a total work
of art). Followers of this movement vowed
to destroy the commercial system. The result
was a celebration of the expressive potential
in all art forms, thus restoring the dignity of
even the most humble worker.

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 Arts and Crafts Movement
The Great Exhibition 1850 - 1900
Crystal Palace Museum
In 1851 Great Britain was arguably the
leader of the industrial revolution and
The Great Exhibition of the feeling very secure in that ideal. The
Works of Industry of all Great Exhibition of 1851 in London was
Nations or Great Exhibition,
sometimes referred to as the conceived to symbolize this industrial,
Crystal Palace Exhibition in military and economic superiority of Great
reference to the temporary Britain.
structure in which it was
held, was an international
exhibition that took place in
Hyde Park, London, England,
from 1 May to 15 October
1851.
It was the first in a series of
World's Fair exhibitions of
culture and industry that
were to become a popular
19th century feature.
The Great Exhibition was
organized by Henry Cole and
Prince Albert of Saxe-Coburg
and Gotha, the spouse of the
reigning monarch, Victoria. It
was attended by numerous
notable figures of the time,
including Charles Darwin,
members of the Orlanist
Royal Family and the writers
Charlotte Bront,
Grand Panorama of the Sumod
Patricia Great Exhibition of 1851 Portion of the South Transept from10
The
Illustrated London News. Image scan and text by Philip V. Allingham.
The Great Exhibition Arts and Crafts Movement
Crystal Palace Museum 1850 1900

The British also felt that it was important to

show their achievements right alongside those
of "less civilized" countries. The prevailing
attitude in England at the time was ripe for the
somewhat arrogant parading of
accomplishments. Many felt secure,
economically and politically, and Queen
Victoria was eager to reinforce the feeling of
contentment with her reign. It was during the
mid-1850s that the word "Victorian" began to
be employed to express a new self-
consciousness, both in relation to the nation
and to the period through which it was passing.

The exhibition was also a triumph for

Victoria's German husband, Albert, whom she Stained Glass Gallery at the Great Exhibition of 1851..
had married in 1840.

The Crystal Palace was originally designed by Sir Joseph Paxton in only 10 days and was a huge
iron goliath with over a million feet of glass. It was important that the building used to showcase these
achievements be grandiose and innovative. Over 13,000 exhibits were displayed and viewed by
over 6,200,000 visitors to the exhibition. The millions of visitors that journeyed to the Great
Exhibition of 1851 marveled at the industrial revolution that was propelling Britain into the greatest
power of the time.

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 Among the 13,000 exhibits from all around the world were The Great Exhibition Arts and Crafts Movement
the Jacquard loom, an envelope machine, tools, kitchen Crystal Palace Museum1850 1900
appliances, steel-making displays and a reaping machine
from the United States. The objects on display came from all
parts of the world, including India and the countries with
recent white settlements, such as Australia and New Zealand,
that constituted the new empire. Many of the visitors who
flocked to London came from European cities. The profits
from the event allowed for the foundation of public works
such as the Albert Hall, the Science Museum, the National
History Museum and the Victoria and Albert Museum.

This "bigger and better" building was divided into a series of

courts depicting the history of art and architecture from
ancient Egypt through the Renaissance, as well as exhibits
from industry and the natural world. Major concerts were
held in the Palace's huge arched Centre Transept, which also
contained the world's largest organ.

The Centre Transept also housed a circus and was the scene
of daring feats by world famous acts such as the tightrope
walker Blondin. National exhibitions were also staged within
its glass and iron walls, including the world's first aeronautical
exhibition (held in 1868) and the first national motor show,
plus cat shows, dog shows, pigeon shows, honey, flower and
other shows.

The Crystal Palace itself was almost outshone by the park in Elias Howe's sewing machine, c.1846
which it stood, which contained a magnificent series of
fountains, comprising almost 12,000 individual jets. The
largest of these threw water to a height of 250ft. Some
120,000 gallons of water flowed through the system when it
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was in full play.
 Bell's Osborne telephone, 1878
Harrison Power loom from the Great
Exhibition, 1851

Patricia Sumod Henry Ford - 13

Edison's filament lamp, 1879 Ford Model T, 1916
The Great Exhibition Arts and Crafts Movement
Crystal Palace Museum 1850 1900
Results? Why, man, I have gotten lots of results! If I find
After the Great Exhibition closed, the 10,000 ways something won't work, I haven't failed. I am
Crystal Palace was moved to Sydenham not discouraged, because every wrong attempt discarded is
Hill in South London and reconstructed
often a step forward....
in what was, in effect, a 200 acre
- Thomas Edison
Victorian theme park. The new Crystal
Palace park at Sydenham was opened by
Queen Victoria on June 10th, 1854.

In 1911, the year of King George V's

coronation, the Crystal Palace was home
to the Festival of Empire. Three-quarter
size models of the parliament buildings
of Empire and Commonwealth countries
were erected in the grounds to contain
exhibits of each country's products.
The Crystal Palace was destroyed by fire
in 1936. This picture shows the damage to
the palace in an earlier fire (30th
December, 1866) when the North Transept
was destroyed, and never rebuilt.

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 The Crystal Palace was destroyed by fire
on November 30th 1936, following which the
area lost much of its focus and began to decline.
But many of the most important events in the
history of the Crystal Palace took place in the
grounds, which retain much of their original
overall layout today and are a Grade II listed
historic park. Thus, for 140 years, Crystal Palace
park has been the scene of innumerable
contributions to the nation's social, scientific and
sporting history.

111111

Arts and Crafts Movement 1850 1900

The Great Exhibition
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Crystal Palace Museum
ART NOUVEAU
1890 - 1905
The style of an era does not mean specific forms
in a specific form of art; each form is just one of
the many symbols of life within, each art form is a
mere contribution to the style. Yet a style is the
symbol of an overall feeling, of an eras attitude
to life and is visible within the universe of all the
arts.

PETER BEHRENS

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 Art Nouveau is an international philosophy and style
of art, architecture and applied artespecially the
decorative artsthat were most popular during
18901910.[3] The name "Art Nouveau" is French for
"new art".

It is known also as Jugendstil, German for "youth

style", named after the magazine Jugend, which
promoted it, as Secession in Austria and Hungary
after the Viennese group of artists, and, in Italy, as
Stile Liberty from the department store in London,
Liberty & Co., which popularized the style.

A reaction to academic art of the 19th century, it was

inspired by natural forms and structures, not only in
flowers and plants but also in curved lines. Architects
tried to harmonize with the natural environment. It
is also considered a philosophy of design of
furniture, which was designed according to the
whole building and made part of ordinary life.

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 Art Nouveau defines the elegant, unified
style that flourished from the early 1880s to
the beginning of World War II. At this time
industrial revolution and machine age was
already in full swing. Origin can be traced to
England. This movement brought together
applied arts, architecture and decorations of The style was
all sorts. influenced strongly
by Czech artist
Characterized by ornamental, sinuous lines, Alphonse Mucha,
Art Nouveau was a highly original style, based when he produced a
on natural flora and fauna. The unique work lithographed poster,
and craftsmanship of individual artists were which appeared on 1
the hallmarks of this style, which provided a January 1895 in the
transition between abundance of Victorian streets of Paris as an
history and sleek functionality of modernism. advertisement for
At its height Art Nouveau was popular in the the play Gismonda by
1900s in Europe and the US which spread to Victorien Sardou. It
the entire globe. popularized the new
artistic style and its
Many contradictions were put as the quality creator to the
of work being done across the globe was very citizens of Paris.
varied. Some of the most popular isms like Initially named Style
the Cubism, Fauvism and Expressionism Mucha, (Mucha
began at this time. Style), his style soon
became known as Art
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Nouveau.
 Art Nouveau was most popular in Europe,
but its influence was global. Hence, it is
known for its various appearances with
frequent localized tendencies.

Bud ( symbol of new growth and life)

exotic plants with long stems and pale
flowers, lilies and water lilies. Oriental
motifs such as chrysanthemums,
dragonflies, bamboo, irises. Images of
women with flowing long hair. Influenced
by Japanese techniques.

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 In France, Hector Guimard's Paris metro
entrances were of art nouveau style and Emile
Gall practiced the style in Nancy, France. Victor
Horta had a decisive effect on architecture in
Belgium.

Magazines like Jugend helped publicize the style

in Germany, especially as a graphic art form,
while the Vienna Secessionists influenced art
and architecture throughout Austria-Hungary.

Two of several cover illustrations by Hans Christiansen (18661945) for

1898 issues of Jugend magazine. Patricia Sumod 20
Hector Guimard's Paris metro entrances
 Joseph Maria Olbrich, Austrian, 1867 1908.
Vienna Secession Building, 1897 1898.
Photography by C. H. Bastin and J. Evrard,
Brussels
Victor Horta architecture, Belgium

Born in Nancy, France, in 1846, Emile

Gall is considered one of the most
outstanding glass artists of his time .

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 ARCHITECTURE
Casa Batllo by Antonio Gaudi

Casa Mila by Antonio Gaudi

Interiors-
Tassel house done by
Antonio Gaudi

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Carson and Peirre Scott and Co.
 Art Nouveau was also a
style of distinct
individuals such as
Gustav Klimt, Charles
Rennie Mackintosh,
Alphonse Mucha, Ren
Lalique, Antoni Gaud,
Aubrey Beardsley, Pierre
Bonnard, Paul Gaugin, Ren Lalique, French, 1860 - 1945
Edvard Munch, Henri de Dragonfly woman corsage ornament, 1897 - 1898
gold, enamel, chrysoprase, moonstones, and
Toulouse-Lautrec, and diamonds,
Madonna Edvard Munch
Louis Comfort Tiffany,
each of whom
interpreted it in their
own manner.
In the field of art it is
often said that Art
Nouveau gave the start
to movements like
Cubism, Fauvism and
Expressionism.

Louis Comfort Tiffany was born inSumod

Patricia 1848 to a jewelry company owner, 23
and is most renowned for his Art Nouveau style stained glass.
Henri Toulouse Lautrec

Gustav Klimt, - The Kiss

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Paul Gaugin The Swineherd, Brittany
1888 (180 Kb); Oil on canvas

Pierre Bonnard Model

PatriciainSumod
Backlight Edvard Munch. The Scream (1893 25
 John and Salome
Aubrey Beardsley, 1872-1898

Katsushika Hakusai

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Art Nouveau was and is an avant-garde movement of the period in historical and
academic perspectives. Art Nouveau artists wished to blur the lines between
famous and minor artists, and unifying all arts, and unifying art with everyday
human life in essence, the art of the period became part of the architecture,
placards, and jewelry in an attempt to combine life and art.

Although Art Nouveau was replaced by 20th-century modernist styles, it is

considered now as an important transition between the historicism of
Neoclassicism and modernism. Furthermore, Art Nouveau monuments are now
recognized by UNESCO with their World Heritage List as significant contributions to
cultural heritage.

The unity of art and life was the declared aim of Art Nouveau, it
was on this basis of shared ideas and ideals that these artists
from varied fields of art strived to achieve homogeneity of
expression not in uniformity but in variety.
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The Edwardian Period

Patricia Sumod 28
 The Edwardian era or Edwardian period in the United
Kingdom is the period covering the reign of King 19011910
Edward VII, 1901 to 1910. The death of Queen Victoria
in January 1901 and the succession of her son Edward King Edward VII, after whom the Edwardian
marked the end of the Victorian era. King Edward was period is named
the leader of a fashionable elite that set a style
influenced by the art and fashions of Continental
Europe. The era was marked by significant shifts in
politics as sections of society that had been largely
excluded from wielding power in the past, such as
common laborers and women, became increasingly
politicized.

The Edwardian period is sometimes extended beyond

Edward's death in 1910 to include the years up to the
sinking of the RMS Titanic in 1912, the start of World
War I in 1914, the end of hostilities with Germany in
1918, or the signing of the Treaty of Versailles in 1919.

The Edwardian era was a period during which the

British class system was very rigid. Economic and
social changes created an environment in which there
was more social mobility. Such changes included rising
interest in socialism, attention to the plight of the poor
and the status of women, including the issue of
women's suffrage, together with increased economic
opportunities as a result of rapid industrialization.

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The Edwardian Era corresponds to The Belle poque
or La Belle poque (French for "Beautiful Era") was a
period in European social history that began during the
late 19th century and lasted until World War I. Occurring
during the era of the French Third Republic and the
German Empire, it was a period characterized by
optimism and new technological and medical
discoveries. The Belle poque was named in retrospect,
when it began to be considered a "golden age" when
compared to the horrors of World War I.
In the newly rich United States, emerging from the
Panic of 1873, the comparable era was dubbed the
Gilded Age. In the United Kingdom, the Belle poque
overlapped with the late Victorian era and the
1903 Cadillac Model A
Edwardian era.
Inventions that are noteworthy from this era include the perfection of lightly sprung, noiseless carriages in
various fashionable forms, which were superseded towards the end of the era by the automobile, which
was for its first decade a luxurious experiment for the elite class. The telephone joined the telegraph as a
vehicle for rapid communication, and electric light began to supersede gas lighting. The phonograph and
the cinematography were embraced, the aeroplane remained a fascinating experiment.

It was during this era that biologists and physicians finally came to understand the germ theory of
disease, and the field of bacteriology was established. Max Planck, Albert Einstein, Nikola Tesla, and Niels
Bohr initiated modern physics.

To recognize many of the great advances made in science in this era, the Nobel Prizes were established
for physics, chemistry, and physiology or medicine.
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 Fashion during the Edwardian Era
19001910
European and European-influenced countries continued the
long elegant lines of the 1890s. Tall, stiff collars characterize
the period, as do women's broad hats and full "Gibson Girl"
hairstyles. A new, columnar silhouette introduced by the
couturiers of Paris late in the decade signaled the
approaching abandonment of the corset as an indispensable
garment of fashionable women.

With the decline of the bustle, sleeves began to increase in

size and the 1830s silhouette of an hourglass shape became
popular again. The fashionable silhouette in the early 1900s
was that of a confident woman, with full low chest and
curvy hips. The "health corset" of this period removed
pressure from the abdomen and created an S-curve
silhouette.

In 1897, the silhouette slimmed and elongated by a

considerable amount. Blouses and dresses were full in front 1908 was the era of a style called the
Gibson Girl heavy bust and swirling
and puffed into a "pigeon breast" shape of the early 20th skirts.
century that looked over the narrow waist, which sloped
from back to front and was often accented with a sash or
belt. Necklines were supported by very high Patricia
bonedSumod
collars. 31
Gibson Girl
Illustrated by Charles Dana Gibson
Belgian born Camille Clifford won a
magazine competion in the early 1900s to
find a living version of the famous Gibson
Girl illustrations created by Charles Dana
Gibson. The Gibson girl was considered to
epitomise all that was feminine beauty in
the Edwardian era. With an exaggerated
hourglass figure and her hair piled on top
of her head she was portrayed being equal
to men.
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 By 1895 the leg of mutton sleeves swelled to gigantic
proportions and were also used on dcollet evening
dresses. The size of the sleeves was highlighted by
the comparison of the tiny sash or belted waist
against the simple gored skirt that flared out all
round to balance the massive sleeve heads.

In 1897, the silhouette slimmed and elongated by a

considerable amount. Blouses and dresses were full
in front and puffed into a "pigeon breast" or mono-
bosom shape of the early 20th century that looked
over the narrow waist, which sloped from back to
front and was often accented with a sash or belt.
Necklines were supported by very high boned collars.

Skirts brushed the floor, often with a train, even for

day dresses, in mid-decade. Around 1908, the fashion
houses of Paris began to show a new silhouette, with
a thicker waist, flatter bust, and narrower hips. By the
end of the decade the most fashionable skirts cleared
the floor and approached the ankle. The overall
silhouette narrowed and straightened, beginning a
trend that would continue into the years leading up
to the Great War.

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 This decade marked the beginning of
Parisian haute couture as the authority of
styles and silhouettes for women of all
classes. Designers sent fashion models or
mannequins to the Longchamp races
wearing the latest styles, and fashion
photographs identified the creators of
individual gowns.

In 1908, a new silhouette emerged from

Callot Soeurs, Vionnet at the house of
Doucet, and most importantly, Paul
Poiret. The styles were variously called
Merveilleuse, Dirctoire, and Empire
after the fashions of the turn of the
nineteenth century, which showed in
their narrow skirts and raised waistlines.

The new styles featured form-fitting

gowns with high waists, or ankle-length
skirts and long tunic-like jackets, and
required a different "straight line" corset.
The Paris correspondent for Vogue
described this new look as "straighter
and straighter ... less bust, less hips, and
more waist...how slim, how graceful,
how elegant...!"
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