Arts and Crafts movement

This article is about the art and design movement. For 1 Social and design principles
handicrafts generally, see Handicraft. For other uses, see
Arts & Crafts (disambiguation).
The Arts and Crafts movement was an international The Arts and Crafts style emerged from the attempt to reform design and decoration in mid 19th century Britain.
It was a reaction against a decline in standards that the
reformers associated with machinery and factory production, and was in part a response to items shown in the
Great Exhibition of 1851 that were ornate, articial 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.[10] Design reform began with the organisers of the Exhibition itself, Henry
Cole (18081882), Owen Jones (18091874), Matthew
Digby Wyatt (18201877) and Richard Redgrave (1804
1888),[11] and the dislike of excessive ornament and badly
made things was not exclusive to the Arts and Crafts
movement.[12] Owen Jones, for example, declared that
Ornament ... must be secondary to the thing decorated,
that there must be tness 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.[13] Where a fabric or wallpaper in the Great ExWilliam Morris design for Trellis wallpaper, 1862
hibition might be decorated with a natural motif made
to look as real as possible, an Arts and Crafts, like the
movement in the decorative and ne arts that began in Artichoke design illustrated above, would use a at and
Britain and ourished in Europe and North America be- simplied natural motif.
tween 1880 and 1910,[1] emerging in Japan in the 1920s.
It stood for traditional craftsmanship using simple forms, William Morris, a major gure in 19th century design
and often used medieval, romantic, or folk styles of deco- reform, whose ideas inspired the Arts and Crafts Moveration. It advocated economic and social reform and was ment, advocated production by traditional craft methods
essentially anti-industrial.[2][3][4] It had a strong inuence but was inconsistent in his view of what place machinon the arts in Europe until it was displaced by Modernism ery should play. At one point he said that production by
[10]
in the 1930s,[5] and its inuence continued among craft machinery was altogether an evil, but he was willing
makers, designers, and town planners long afterwards.[6] to use manufacturers able to work to his standards with
the aid of machinery;[14] and he said that, in a true sociThe term was rst used by T. J. Cobden-Sanderson at ety, where neither luxuries nor cheap trash were made,
a meeting of the Arts and Crafts Exhibition Society in machinery could be improved and used to reduce the
1887,[7] although the principles and style on which it was hours of labour.[15] Fiona MacCarthy says that unlike
based had been developing in England for at least twenty later zealots like Gandhi, William Morris had no practiyears. It was inspired by the ideas of architect Augustus cal objections to the use of machinery per se so long as
Pugin (18121852), writer John Ruskin (18191900), the machines produced the quality he needed.[16] Morand artist William Morris (18341896).[1]
riss followers also had subtly diering views or changed
The movement developed earliest and most fully in the their minds over time. C.R.Ashbee, for example, a cenBritish Isles,[5] and spread across the British Empire and tral gure in the Arts and Crafts Movement, shared Morto the rest of Europe and North America.[8] It was largely riss ambivalence. At the time of his Guild of Handia reaction against the perceived impoverished state of the craft, initiated in 1888, he said, We do not reject the
decorative arts at the time and the conditions in which machine, we welcome it. But we would desire to see it
they were produced.[2]
mastered.[10][17] After unsuccessfully pitting his Guild
1

FURNISHINGS AND DECORATION GALLERY

and Crafts Exhibition Society did not insist that the designer should also be the maker. Peter Floud, writing in
the 1950s, said that The founders of the Society ... never
executed their own designs, but invariably turned them
over to commercial rms.[20] The idea that the designer
should be the maker and the maker the designer derived
not from Morris or early Arts and Crafts teaching, but
rather from the second-generation elaboration doctrine
worked out in the rst decade of [the twentieth] century
by men such as W. R. Lethaby".[20]
The Arts and Crafts Movement was associated with socialist ideas in the persons of Morris, T. J. Cobden
Sanderson, Walter Crane, Ashbee and others. In the early
1880s Morris was spending more of his time on socialist
propaganda than on designing and making.[21] Ashbee established a community of craftsmen, the Guild of Handicraft, in east London, later moving to Chipping Campden.[7] Those adherents who were not socialists, for example, Alfred Hoare Powell,[22] advocated a more humane and personal relationship between employer and
employee. Lewis Foreman Day, a very successful and
inuential Arts and Crafts designer, was not a socialist
either, despite his long friendship with Crane.

The Nature of Gothic by John Ruskin, printed by William Morris

at the Kelmscott Press in 1892 in Golden type inspired by the 15th
century printer Nicolas Jenson. This chapter from The Stones of
Venice was a sort of manifesto for the Arts and Crafts movement.

and School of Handicraft guild against modern methods

of manufacture, he acknowledged that Modern civilization rests on machinery,[10] but he continued to criticize
the deleterious eects of what he called mechanism,
saying that the production of certain mechanical commodities is as bad for the national health as is the production of slave-grown cane or child-sweated wares.[18]
Morris insisted that the artist should be a craftsmandesigner working by hand[10] and advocated a society of
free craftspeople, which he believed had existed during
the Middle Ages. Because craftsmen took pleasure in
their work, he wrote, the Middle Ages was a period of
greatness in the art of the common people. ... The treasures in our museums now are only the common utensils
used in households of that age, when hundreds of medieval churches - each one a masterpiece - were built by
unsophisticated peasants.[19] Medieval art was the model
for much Arts and Crafts design and medieval life, before
capitalism and the factory system, was idealised by the
movement.
Morris and his followers believed the division of labour
on which modern industry depended was undesirable, but
not all Arts and Crafts artists carried out every stage in
the making of goods themselves, and it was only in the
twentieth century that that became an essential part of
the denition of craftsmanship. The founders of the Arts

In Britain the movement was associated with dress reform,[23] ruralism, the garden city movement[6] and the
folk-song revival, and in continental Europe with the
preservation of national traditions in building, the applied
arts, domestic design and costume.

2 Furnishings
gallery

and

decoration

Arts and Crafts Peacock

Recently constructed version of the Morris chair
Teak bench designed by Edwin Lutyens
Adjustable-Back Chair No. 2342, Gustav Stickley
Screen, 1885-1910, designed by John Henry Dearle
Ford Johnson Rabbit Ear Arm Chair Designed and
manufactured by J. S Ford, Johnson & Company circa 1905
Oak, wood inlay and brass desk by Harvey Ellis, c.
1904, Denver Art Museum
William De Morgan Antelope Charger in red lustre
decorated by John Pearson
Rivercourt - Arts and Crafts Cottage (detail)
Interior of Morris Room in the V&A cafe, London
Interior of Morris Room in the V&A cafe, London

3.2

John Ruskin

Artichoke wallpaper, by John Henry Dearle for

William Morris & Co., Ca. 1897 (Victoria and Albert Museum)
Chang Dish And Stand, Raised copper, with cast
brass ttings, electroplated inside, London, England,
c. 1895, W.A.S.Benson (1854-1924)
Fruit knife and fork designed by C.R. Ashbee, 19012. London. Silver, the knife handle of stained bone.
Mark of Guild of Handicraft Ltd.
Repousse shield designed by Edith Rawnsley, made
by Keswick School of Industrial Art; for the Cumberland Assn of Bell Ringers, 1895.

Origins and inuences

William Morris

3.2 John Ruskin

The Arts and Crafts philosophy derived in large measure
from Ruskins social criticism, which related the moral
and social health of a nation to the qualities of its architecture and to the nature of work. Ruskin considered the
sort of mechanized production and division of labour that
had been created in the industrial revolution to be servile
labour and he thought that a healthy and moral society
William Morriss Red House in London
required independent workers who designed the things
they made. His followers favoured craft production over
industrial manufacture and were concerned about the loss
3.1 A. W. N. Pugin
of traditional skills, but they were arguably more troubled by eects of the factory system than by machinSome of the ideas of the movement were anticipated by ery itself[22] and William Morriss idea of handicraft
A.W.N. Pugin (18121852), a leader in the Gothic re- was essentially work without any division of labour rather
vival in architecture. For example, he, like the Arts and than work without any sort of machinery.[26]
Crafts artists, advocated truth to material, structure and
function.[24] Pugin articulated the tendency of social critics to compare the faults of modern society (such as the 3.3 William Morris
sprawling growth of cities and the treatment of the poor)
unfavorably with the Middle Ages,[25] a tendency that be- Morris, the towering gure in late 19th century design,
came routine with Ruskin, Morris and the Arts and Crafts was the main inuence on the Arts and Crafts movement.
movement. His book Contrasts (1836) drew examples of The aesthetic and social vision of the Arts and Crafts
bad modern buildings and town planning in contrast with movement derived from ideas he developed in the 1850s
good medieval examples, and his biographer Rosemary with a group of students at the University of Oxford, who
Hill notes that in it he reached conclusions, almost in combined a love of Romantic literature with a commitpassing, about the importance of craftsmaship and tra- ment to social reform.[27] By 1855 they had discovered
dition in architecture that it would take the rest of the Ruskin and, believing there to be a contrast between the
century and the combined eorts of Ruskin and Morris barbarity of contemporary art and the painters precedto work out in detail. She describes the spare furnishings ing Raphael (1483-1530), they formed themselves into
he specied for a building in 1841 - rush chairs, oak ta- the Pre-Raphaelite Brotherhood to pursue their artistic
aims. The medievalism of Mallory's Morte d'Arthur set
bles - as the Arts and Crafts interior in embryo.[25]

DEVELOPMENT

the standard for their early style.[28] In Edward Burne- industrial methods.
Jones' words, they intended to wage Holy warfare against The spread of Arts and Crafts ideas during the late 19th
the age.[29]
and early 20th centuries resulted in the establishment of
Morris began experimenting with various crafts and de- many associations and craft communities, although Morsigning furniture and interiors.[30] He was personally in- ris was not involved with them because of his preoccupavolved in manufacture as well as design,[30] which was to tion with socialism in the 1880s. A hundred and thirty
be the hallmark of the Arts and Crafts movement. Ruskin Arts and Crafts organisations were formed in Britain,
had argued that the separation of the intellectual act of most between 1895 and 1905.[31]
design from the manual act of physical creation was both In 1881, Eglantyne Louisa Jebb, Mary Fraser Tytler and
socially and aesthetically damaging; Morris further devel- others initiated the Home Arts and Industries Associaoped this idea, insisting that no work should be carried out tion to encourage the working classes, especially those in
in his workshops before he had personally mastered the rural areas, to take up handicrafts under supervision, not
appropriate techniques and materials, arguing that with- for prot, but in order to provide them with useful occuout dignied, creative human occupation people became pations and to improve their taste. By 1889 it had 450
disconnected from life.[30]
classes, 1,000 teachers and 5,000 students.[32]
In 1882, architect A.H.Mackmurdo formed the Century
Guild, a partnership of designers including Selwyn Image, Herbert Horne, Clement Heaton and Benjamin
Creswick.[33][34]
In 1884, the Art Workers Guild was initiated by ve
young architects, William Lethaby, Edward Prior, Ernest
Newton, Mervyn Macartney and Gerald C. Horsley, with
the goal of bringing together ne and applied arts and
raising the status of the latter. It was directed originally
by George Blackall Simonds. By 1890 the Guild had 150
members, representing the increasing number of practitioners of the Arts and Crafts style.[35] It still exists.
The weaving shed in Morris & Cos factory at Merton, which
opened in the 1880s

In 1861 Morris began making furniture and decorative

objects commercially, modeling his designs on medieval
styles and using bold forms and strong colors. His patterns were based on ora and fauna and his products were
inspired by the vernacular or domestic traditions of the
British countryside. In order to display the beauty of
the materials and the work of the craftsman, some were
deliberately left unnished, creating a rustic appearance.
Truth to materials, structure and function became characteristic of the Arts and Crafts movement.

Development

Morriss designs quickly became popular, attracting interest when his companys work was exhibited at the 1862
International Exhibition. Much of Morris & Cos early
work was for churches and Morris won important interior
design commissions at St Jamess Palace and the South
Kensington Museum (now the Victoria and Albert Museum). Later his work became popular with the middle
and upper classes, despite his wish to create a democratic
art, and by the end of the 19th century, Arts and Crafts
design in houses and domestic interiors was the dominant
style in Britain, copied in products made by conventional

The London department store Liberty & Co., founded in

1875, was a prominent retailer of goods in the style and
of the "artistic dress" favoured by followers of the Arts
and Crafts movement.
In 1887 the Arts and Crafts Exhibition Society, which
gave its name to the movement, was formed with Walter
Crane as president, holding its rst exhibition in the New
Gallery, London, in November 1888.[36] It was the rst
show of contemporary decorative arts in London since
the Grosvenor Gallery's Winter Exhibition of 1881.[37]
Morris & Co. was well represented in the exhibition
with furniture, fabrics, carpets and embroideries. Edward
Burne-Jones observed, here for the rst time one can
measure a bit the change that has happened in the last
twenty years.[38] The society still exists as the Society of
Designer Craftsmen.[39]
In 1888, C.R.Ashbee, a major late practitioner of the
style in England, founded the Guild and School of Handicraft in the East End of London. The guild was a craft
co-operative modelled on the medieval guilds and intended to give working men satisfaction in their craftsmanship. Skilled craftsmen, working on the principles
of Ruskin and Morris, were to produce hand-crafted
goods and manage a school for apprentices. The idea was
greeted with enthusiasm by almost everyone except Morris, who was by now involved with promoting socialism
and thought Ashbees scheme trivial. From 1888 to 1902
the guild prospered, employing about 50 men. In 1902

5
Ashbee relocated the guild out of London to begin an
experimental community in Chipping Campden in the
Cotswolds. The guilds work is characterized by plain surfaces of hammered silver, owing wirework and colored
stones in simple settings. Ashbee designed jewellery and
silver tableware. The guild ourished at Chipping Camden but did not prosper and was liquidated in 1908. Some
craftsmen stayed, contributing to the tradition of modern
craftsmanship in the area.[24][40][41]
Charles Francis Annesley Voysey (18571941) was an
Arts and Crafts architect who also designed fabrics, tiles,
ceramics, furniture and metalwork. His style combined
simplicity with sophistication. His wallpapers and textiles, featuring stylised bird and plant forms in bold outColeton Fishacre was designed in 1925 as a holiday home in
lines with at colors, were used widely.[24]
Kingswear, Devon, England, in the Arts and Crafts tradition.

Morriss thought inuenced the distributism of G. K.

Chesterton and Hilaire Belloc.[42]
By the end of the nineteenth century, Arts and Crafts
ideals had inuenced architecture, painting, sculpture,
graphics, illustration, book making and photography, domestic design and the decorative arts, including furniture
and woodwork, stained glass,[43] leatherwork, lacemaking, embroidery, rug making and weaving, jewelry and
metalwork, enameling and ceramics.[44] By 1910, there
was a fashion for Arts and Crafts and all things handmade and a proliferation of amateur handicrafts of variable quality.[45]

4.1

Later inuences

The British artist potter Bernard Leach brought to England many ideas he had developed in Japan with the social
critic Yanagi Soetsu about the moral and social value of
simple crafts; both were enthusiastic readers of Ruskin.
Leach was an active propagandist for these ideas, which
struck a chord with practitioners of the crafts in the interwar years, and he expounded them in his book The Art of
the Potter, published in 1940, which denounced industrial
society in terms as vehement as those of Ruskin and Morris. Thus the Arts and Crafts philosophy was perpetuated
among British craft workers in the 1950s and 1960s, long
after the demise of the Arts and Crafts movement and at
the high tide of Modernism. British Utility furniture of
the 1940s also derived from Arts and Crafts principles.[46]
One of its main promoters, Gordon Russell, chairman
of the Utility Furniture Design Panel, was imbued with
Arts and Crafts ideas. He manufactured furniture in the
Cotswold Hills, a region of Arts and Crafts furnituremaking since Ashbee, and he was a member of the Arts
and Crafts Exhibition Society. William Morriss biographer, Fiona MacCarthy, detected the Arts and Crafts
philosophy even behind the Festival of Britain (1951), the
work of the designer Terence Conran (b. 1931)[6] and the
founding of the British Crafts Council in the 1970s.[47]

The Robert Owen Museum, Newtown, by Frank Shayler.

5 Outside England
5.1 Ireland
The movement spread to Ireland, representing an important time for the nations cultural development, a visual
counterpart to the literary revival of the same time[48]
and was a publication of Irish nationalism. The Arts
and Crafts use of stained glass was popular in Ireland,
with Harry Clarke the best-known artist and also with
Evie Hone. The architecture of the style is represented
by the Honan Chapel (1916) in Cork in the grounds of
University College Cork. Other architects practicing in
Ireland included Sir Edwin Lutyens (Heywood House in
Co. Laois, Lambay Island and the Irish National War
Memorial Gardens in Dublin) and Frederick 'Pa' Hicks
(Malahide Castle estate buildings and round tower). Irish
Celtic motifs were popular with the movement in silvercraft, carpet design, book illustrations and hand-carved
furniture.

OUTSIDE ENGLAND

Scotland
The beginnings of the Arts and Crafts movement in
Scotland were in the stained glass revival of the 1850s,
pioneered by James Ballantine (180877). His major
works included the great west window of Dunfermline
Abbey and the scheme for St. Giles Cathedral, Edinburgh. In Glasgow it was pioneered by Daniel Cottier
(183891), who had probably studied with Ballantine,
and was directly inuenced by William Morris, Ford Madox Brown and John Ruskin. His key works included
the Baptism of Christ in Paisley Abbey, (c. 1880). His
followers included Stephen Adam and his son of the
same name.[49] The Glasgow-born designer and theorist
Christopher Dresser (18341904) was one of the rst,
and most important, independent designers, a pivotal gure in the Aesthetic Movement and a major contributor to
the allied Anglo-Japanese movement.[50] The movement
had an extraordinary owering in Scotland where it was
represented by the development of the 'Glasgow Style'
which was based on the talent of the Glasgow School of
Art. Celtic revival took hold here, and motifs such as
the Glasgow rose became popularised. Charles Rennie
Mackintosh and the Glasgow School of Art were to inuence others worldwide.[5][44]

5.2

Continental Europe

In continental Europe, the revival and preservation of

national styles was an important motive of Arts and
Crafts designers; for example, in Germany, after unication in 1871 under the encouragement of the Bund fr
Heimatschutz (1897)[51] and the Vereinigte Werksttten
fr Kunst im Handwerk founded in 1898 by Karl Schmidt;
and in Hungary Kroly Ks revived the vernacular style of
Transylvanian building. In central Europe, where several
diverse nationalities lived under powerful empires (Germany, Austria-Hungary and Russia), the discovery of the
vernacular was associated with the assertion of national
pride and the striving for independence, and, whereas for
Arts and Crafts practitioners in Britain the ideal style was
to be found in the medieval, in central Europe it was
sought in remote peasant villages.[52]

The Swedish artists Carl Larsson and Karin Berg Larsson were
inspired by the Arts and Crafts movement when designing their
home.

nated in Britain.[53] The Wiener Werksttte, founded in

1903 by Josef Homann and Koloman Moser, was inuenced by the Arts and Crafts principles of the unity
of the arts and the hand-made. The Deutscher Werkbund (German Association of Craftsmen) was formed
in 1907 as an association of artists, architects, designers, and industrialists to improve the global competitiveness of German businesses and became an important element in the development of modern architecture and industrial design through its advocacy of standardized production. However, its leading members, van de Velde
and Hermann Muthesius, had conicting opinions about
standardization. Muthesius believed that it was essential
were Germany to become a leading nation in trade and
culture. Van de Velde, representing a more traditional
Arts and Crafts attitude, believed that artists would forever protest against the imposition of orders or standardization, and that The artist ... will never, of his own
accord, submit to a discipline which imposes on him a
canon or a type. [54]
In Finland, an idealistic artists colony in Helsinki was designed by Herman Gesellius, Armas Lindgren and Eliel
Saarinen,[5] who worked in the National Romantic style,
akin to the British Gothic Revival.

Widely exhibited in Europe, the Arts and Crafts styles

simplicity inspired designers like Henry van de Velde and
styles such as Art Nouveau, the Dutch De Stijl group,
Vienna Secession, and eventually the Bauhaus style.
Pevsner regarded the style as a prelude to Modernism,
which used simple forms without ornamentation.[10]

In Hungary, under the inuence of Ruskin and Morris,

a group of artists and architects, including Kroly Ks,
Aladr Krsfi-Kriesch and Ede Toroczkai Wigand,
discovered the folk art and vernacular architecture of
Transylvania. Many of Kss buildings, including those
in the Budapest zoo and the Wekerle estate in the same
[55]
The earliest Arts and Crafts activity in continental Europe city, show this inuence.
was in Belgium in about 1890, where the English style In Russia, Viktor Hartmann, Viktor Vasnetsov, Yelena
inspired artists and architects including can de Velde, Polenova and other artists associated with Abramtsevo
Gabriel Van Dievoet, Gustave Serrurier-Bovy and a group Colony sought to revive the quality of medieval Russian
decorative arts quite independently from the movement
known as La Libre Esthtique (Free Aesthetic).
Arts and Crafts products were admired in Austria and in Great Britain.
Germany in the early 20th century, and under their in- In Iceland, Slvi Helgason's work shows Arts and Crafts
spiration design moved rapidly forward while it stag- inuence.

5.3

5.3

North America

North America

Example of Arts and Crafts style inuence on Federation architecture Observe the faceted bay window and the stone base.
Warren Wilson Beach House (The Venice Beach House), Venice,
California

ley in his magazine, The Craftsman and designs produced

on the Roycroft campus as publicized in Elbert Hubbards The Fra. Both men used their magazines as a
vehicle to promote the goods produced with the Craftsman workshop in Eastwood, NY and Elbert Hubbards
Roycroft campus in East Aurora, NY. A host of imitators of Stickleys furniture (the designs of which are often
mislabelled the "Mission Style") included three companies established by his brothers.

House at 1333 Alvarado Terrace, Los Angeles

Arts and Crafts Tudor Home in the Buena Park Historic District,
Uptown, Chicago

In the United States, the Arts and Crafts style initiated a variety of attempts to reinterpret European Arts
and Crafts ideals for Americans. These included the
Craftsman"-style architecture, furniture, and other decorative arts such as designs promoted by Gustav Stick-

The terms American Craftsman or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco in the USA,
or approximately the period from 1910 to 1925. The
movement was particularly notable for the professional
opportunities it opened up for women as artisans, designers and entrepreneurs who founded and ran, or were employed by, such successful enterprises as the Kalo Shops,
Rookwood Pottery, and Tiany Studios. In Canada, the
term Arts and Crafts predominates, but Craftsman is also
recognized.[56]
While the Europeans tried to recreate the virtuous crafts
being replaced by industrialisation, Americans tried to
establish a new type of virtue to replace heroic craft
production: well-decorated middle-class homes. They
claimed that the simple but rened aesthetics of Arts and
Crafts decorative arts would ennoble the new experience
of industrial consumerism, making individuals more rational and society more harmonious. The American Arts
and Crafts movement was the aesthetic counterpart of its
contemporary political philosophy, progressivism. Characteristically, when the Arts and Crafts Society began in
October 1897 in Chicago, it was at Hull House, one of the
rst American settlement houses for social reform.[57]
Arts and Crafts ideals disseminated in America through
journal and newspaper writing were supplemented by societies that sponsored lectures.[57] The rst was organized
in Boston in the late 1890s, when a group of inuential architects, designers, and educators determined to bring to

America the design reforms begun in Britain by William

Morris; they met to organize an exhibition of contemporary craft objects. The rst meeting was held on January 4, 1897, at the Museum of Fine Arts (MFA) in
Boston to organize an exhibition of contemporary crafts.
When craftsmen, consumers, and manufacturers realised
the aesthetic and technical potential of the applied arts,
the process of design reform in Boston started. Present
at this meeting were General Charles Loring, Chairman
of the Trustees of the MFA; William Sturgis Bigelow
and Denman Ross, collectors, writers and MFA trustees;
Ross Turner, painter; Sylvester Baxter, art critic for the
Boston Transcript; Howard Baker, A.W. Longfellow Jr.;
and Ralph Clipson Sturgis, architect.
The rst American Arts and Crafts Exhibition began on
April 5, 1897, at Copley Hall, Boston featuring more
than 1000 objects made by 160 craftsmen, half of whom
were women. Some of the advocates of the exhibit were
Langford Warren, founder of Harvards School of Architecture; Mrs. Richard Morris Hunt; Arthur Astor Carey
and Edwin Mead, social reformers; and Will H. Bradley,
graphic designer. The success of this exhibition resulted
in the incorporation of The Society of Arts and Crafts
(SAC), on June 28, 1897, with a mandate to develop and
encourage higher standards in the handicrafts. The 21
founders claimed to be interested in more than sales, and
emphasized encouragement of artists to produce work
with the best quality of workmanship and design. This
mandate was soon expanded into a credo, possibly written by the SACs rst president, Charles Eliot Norton,
which read:
This Society was incorporated for the purpose of promoting artistic work in all branches
of handicraft. It hopes to bring Designers and
Workmen into mutually helpful relations, and
to encourage workmen to execute designs of
their own. It endeavors to stimulate in workmen an appreciation of the dignity and value
of good design; to counteract the popular impatience of Law and Form, and the desire for
over-ornamentation and specious originality. It
will insist upon the necessity of sobriety and restraint, or ordered arrangement, of due regard
for the relation between the form of an object
and its use, and of harmony and tness in the
decoration put upon it.[58]
Also inuential were the Roycroft community initiated by
Elbert Hubbard in Bualo and East Aurora, New York,
Joseph Marbella, utopian communities like Byrdclie
Colony in Woodstock, New York, and Rose Valley,
Pennsylvania, developments such as Mountain Lakes,
New Jersey, featuring clusters of bungalow and chateau
homes built by Herbert J. Hapgood, and the contemporary studio craft style. Studio potteryexemplied by
the Grueby Faience Company, Newcomb Pottery in New
Orleans, Marblehead Pottery, Teco pottery, Overbeck

OUTSIDE ENGLAND

and Rookwood pottery and Mary Chase Perry Stratton's

Pewabic Pottery in Detroit, as well as the art tiles made
by Ernest A. Batchelder in Pasadena, California, and idiosyncratic furniture of Charles Rohlfs all demonstrate
the inuence of Arts and Crafts.
5.3.1 Architecture and Art
The "Prairie School" of Frank Lloyd Wright, George
Washington Maher and other architects in Chicago,
the Country Day School movement, the bungalow and
ultimate bungalow style of houses popularized by Greene
and Greene, Julia Morgan, and Bernard Maybeck are
some examples of the American Arts and Crafts and
American Craftsman style of architecture. Restored and
landmark-protected examples are still present in America, especially in California in Berkeley and Pasadena,
and the sections of other towns originally developed during the era and not experiencing post-war urban renewal.
Mission Revival, Prairie School, and the 'California bungalow' styles of residential building remain popular in the
United States today.
As theoreticians, educators, and prolic artists in mediums from printmaking to pottery and pastel, two of the
most inuential gures were Arthur Wesley Dow (18571922) on the East Coast and Pedro Joseph de Lemos
(1882-1954) in California. Dow, who taught at Columbia
University and founded the Ipswich Summer School of
Art, published in 1899 his landmark Composition, which
distilled into a distinctly American approach the essence
of Japanese composition, combining into a decorative
harmonious amalgam three elements: simplicity of line,
notan (the balance of light and dark areas), and symmetry of color.[59] His purpose was to create objects that
were nely crafted and beautifully rendered. His student
de Lemos, who became head of the San Francisco Art Institute, Director of the Stanford University Museum and
Art Gallery, and Editor-in-Chief of the School Arts Magazine, expanded and substantially revised Dows ideas in
over 150 monographs and articles for art schools in the
United States and Britain.[60] Among his many unorthodox teachings was his belief that manufactured products
could express the sublime beauty and that great insight
was to be found in the abstract design forms of preColumbian civilizations.
5.3.2 Museums
The Museum of the American Arts and Crafts Movement
is under construction in St. Petersburg, Florida, scheduled to open in 2017.[61][62]

5.4 Asia
In Japan, Yanagi Setsu, creator of the Mingei movement
which promoted folk art from the 1920s onwards, was

6.1

Architectural examples

inuenced by the writings of Morris and Ruskin.[19] Like

the Arts and Crafts movement in Europe, Mingei sought
to preserve traditional crafts in the face of modernising
industry.

Architecture

Many of the leading of the Arts and Crafts movement

were trained as architects (e.g. William Morris, A. H.
Mackmurdo, C. R. Ashbee, W. R. Lethaby) and it was
on building that the movement had its most visible and
lasting inuence.
Red House, in Bexleyheath, London, designed for Morris
in 1859 by architect Philip Webb, exemplies the early
Arts and Crafts style, with its well-proportioned solid
forms, wide porches, steep roof, pointed window arches,
brick replaces and wooden ttings. Webb rejected classical and other revivals of historical styles based on grand
buildings, and based his design on British vernacular architecture, expressing the texture of ordinary materials,
such as stone and tiles, with an asymmetrical and picturesque building composition.[24]

9
Spade House - Sandgate, Kent - 1900
Caledonian Estate - Islington, London - 1900 - 1907
Shaws Corner - Ayot St Lawrence, Hertfordshire 1902
Rodmarton Manor - Rodmarton, near Cirencester,
Gloucestershire - 1909-29
Bedales School Memorial Library - near Peterseld,
Hampshire - 1919-21
Plewlands Avenue (Private houses) Edinburgh 1920
Pierre P. Ferry House - Seattle, Washington - 19031906
Marston House - San Diego, California - 1905
Edgar Wood Centre - Manchester, England - 1905
Debenham House - Holland Park, London - 190507

The London suburb of Bedford Park, built mainly in

the 1880s and 1890s, has about 360 Arts and Crafts
style houses and was once famous for its Aesthetic residents. Several Almshouses were built in the Arts and
Crafts style, for example, Whiteley Village, Surrey, built
between 1914 and 1917, with over 280 buildings, and
the Dyers Almshouses, Sussex, built between 1939 and
1971. Letchworth Garden City, the rst garden city,
was inspired by Arts and Crafts ideals.[6] The rst houses
were designed by Barry Parker and Raymond Unwin in
the vernacular style popularized by the movement and
the town became associated with high-mindedness and
simple living. The sandal-making workshop set up by
Edward Carpenter moved from Yorkshire to Letchworth
Garden City and George Orwell's jibe about every fruitjuice drinker, nudist, sandal-wearer, sex-maniac, Quaker,
Nature Cure quack, pacist, and feminist in England
going to a socialist conference in Letchworth has become
famous.[63]

Robert R. Blacker House - Pasadena, California 1907

6.1

Ramsay House - Ellensburg, Washington - 1905

Architectural examples

The Arts & Crafts Church (Long Street Methodist

Church and School) - Manchester, England - 1900
Red House - Bexleyheath, Kent - 1859
YHA Beer - Youth Hostel - Beer, East Devon

Gamble House - Pasadena, California - 1908

Oregon Public Library - Oregon, Illinois - 1909
Thorsen House - Berkeley, California - 1909
First Church of Christ, Scientist - Berkeley, California - 1910
St. Johns Presbyterian Church - Berkeley, California - 1910
Craftsman Farms - Parsippany, New Jersey - 1911
Whare Ra - Havelock North, New Zealand - 1912
Nurses Memorial Chapel at Christchurch Hospital,
New Zealand - 1927

Asilomar Conference Grounds - Pacic Grove, California - 1913

Honan Chapel - University College Cork, Ireland

Standen - East Grinstead, England - 1894

Loughrea Cathedral - Loughrea, County Galway,

Ireland

Blackwell - Lake District, England - 1898

Winterbourne House - Birmingham, England - 1904

Derwent House - Chislehurst, Kent - 1899

Stoneywell - Ulverscroft, Leicestershire - 1899

St Francis Xaviers Cathedral - Geraldton Western

Australia 1916 - 1938

10

6.2

Architectural gallery

ART EDUCATION

8 Art education

Kempley Church and the Jam Tart Window

Morriss ideas were adopted by the New Education phi St. Edward the Confessor, Kempley, 1904, de- losophy in the late 1880s, which incorporated handiscribed by J Betjeman as 'A mini-cathedral of the craft teaching in schools at Abbotsholme (1889) and
Bedales (1892), and his inuence has been noted in the
Arts and Crafts movement.'
social experiments of Dartington Hall during the mid Rivercourt - Arts and Crafts Cottage
20th century.[70]
East window of St Mary the Virgin, Acocks Green, Arts and Crafts practitioners in Britain were critical of the
government system of art education which was based on
Birmingham
design in the abstract with little teaching of practical craft.
Church of St James, Leckhampstead, Berkshire
This lack of craft training also caused concern in indus Aintree Mansion, a cultural heritage site in the trial and ocial circles, and in 1884 a Royal Commission
(accepting the advice of William Morris) recommended
Canadian Register of Historic Places.
that art education should pay more attention to the suit Blackwell, Windermere, Cumbria - Main Hall - MH ability of design to the material in which it was to be
Baillie-Scott
executed.[71] The rst school to make this change was the
Birmingham School of Arts and Crafts, which led the
Red House, Bexleyheath, 1860, William Morris and
way in introducing executed design to the teaching of art
Philip Webb
and design nationally (working in the material for which
the design was intended rather than designing on paper).
Inglewood House by Ernest Gimson
In his external examiners report of 1889, Walter Crane
Standen House West Sussex, by Philip Webb 1894, praised Birmingham School of Art in that it 'considered
design in relationship to materials and usage.'"[72] Under
Standen House, 1894, interior
the direction of Edward Taylor, its headmaster from 1877
to 1903, and with the help of Henry Payne and Joseph
Voewood House, High Kelling, Norfolk
Southall, the Birmingham School became a leading Arts Hand-carved stonework at Church of St Thomas, and-Crafts centre.[73]
Thurstonland, 1870
Other local authority schools also began to introduce
Wekerle estate, Budapest, (190825) by Kroly Ks more practical teaching of crafts, and by the 1890s Arts
and Crafts ideals were being disseminated by members
of the Art Workers Guild into art schools throughout
the country. Members of the Guild held inuential po7 Garden design
sitions: Walter Crane was director of the Manchester
School of Art and subsequently the Royal College of Art;
Gertrude Jekyll applied Arts and Crafts principles to garden design. She worked with the English architect, Sir F.M. Simpson, Robert Anning Bell and C.J.Allen were
Edwin Lutyens, for whose projects she created numerous respectively professor of architecture, instructor in paintlandscapes, and who designed her home Munstead Wood, ing and design, and instructor in sculpture at Liverpool
near Godalming in Surrey.[64] Jekyll created the gardens School of Art; Robert Catterson-Smith, the headmaster
for Bishopsbarns,[65] the home of York architect Walter of the Birmingham Art School from 1902-1920, was also
Brierley, an exponent of the Arts and Crafts movement an AWG member; W. R. Lethaby and George Frampand known as the Lutyens of the North.[66] The gar- ton were inspectors and advisors to the London County
den for Brierleys nal project, Goddards in York, was Council's (LCC) education board and in 1896, largely as
the work of George Dillistone, a gardener who worked a result of their work, the LCC set up the Central School
[74]
with Lutyens and Jekyll at Castle Drogo.[67] At Goddards of Arts and Crafts and made them joint principals.
the garden incorporated a number of features that re- Shortly after, the Camberwell School of Arts and Crafts
ected the arts and crafts style of the house, such as was set up on Arts and Crafts lines by the local borough
the use of hedges and herbaceous borders to divide the council.
garden into a series of outdoor rooms.[68] Another notable Arts and Crafts garden is Hidcote Manor Garden
designed by Lawrence Johnston which is also laid out in
a series of outdoor rooms and where, like Goddards, the
landscaping becomes less formal further away from the
house.[69] Other examples of Arts and Crafts gardens include Hestercombe Gardens, Lytes Cary Manor and the
gardens of some of the architectural examples of arts and
crafts buildings (listed above).

As head of the Royal College of Art in 1898, Crane tried

to reform it along more practical lines, but resigned after a year, defeated by the bureaucracy of the Board of
Education, who then appointed Augustus Spencer to implement his plan. Spencer brought in Lethaby to head its
school of design and several members of the Art Workers
Guild as teachers.[74] Ten years after reform, a committee of inquiry reviewed the RCA and found that it was
still not adequately training students for industry.[75] In

11
the debate that followed the publication of the committees report, C.R.Ashbee published a highly critical essay,
Should We Stop Teaching Art, in which he called for the
system of art education to be completely dismantled and
for the crafts to be learned in state-subsidised workshops
instead.[76] Lewis Foreman Day, an important gure in
the Arts and Crafts movement, took a dierent view in
his dissenting report to the committee of inquiry, arguing
for greater emphasis on principles of design against the
growing orthodoxy of teaching design by direct working
in materials. Nevertheless, the Arts and Crafts ethos thoroughly pervaded British art schools and persisted, in the
view of the historian of art education, Stuart MacDonald,
until after the Second World War.[74]

Julia Morgan
William de Morgan
William Morris
Karl Parsons
Alfred Hoare Powell
Edward Schroeder Prior
Hugh C. Robertson
William Robinson
Baillie Scott
Norman Shaw

Leading practitioners

Ellen Gates Starr

Charles Robert Ashbee

Gustav Stickley

William Swinden Barber

Phoebe Anna Traquair

Barnsley brothers

Charles Voysey

Detmar Blow

Philip Webb

Herbert Tudor Buckland

Margaret Ely Webb

Rowland Wilfred William Carter

Christopher Whall

T. J. Cobden-Sanderson
Walter Crane
Nelson Dawson

Edgar Wood

10 See also

Lewis Foreman Day

Art Nouveau

Christopher Dresser

Charles Prendergast

Dirk van Erp

The English House

Ernest Gimson

Museum of the American Arts and Crafts Movement

Greene & Greene

Elbert Hubbard
Florence Koehler

Philip Clissett

11 References

William Lethaby
Edwin Lutyens

[1] Triggs, Oscar Lovell (1902). Chapters in the History of the

Arts and Crafts Movement.

Charles Rennie Mackintosh

[2] Brenda M. King, Silk and Empire

A.H.Mackmurdo

[3] Moses N. Ikiugu and Elizabeth A. Ciaravino, Psychosocial

Conceptual Practice models in Occupational Therapy

Samuel Maclure
George Washington Maher
Bernard Maybeck
Henry Chapman Mercer

[4] Arts and Crafts Style Guide. British Galleries. Victoria

and Albert Museum. Retrieved 2007-07-17.
[5] Campbell, Gordon (2006). The Grove Encyclopedia of
Decorative Arts, Volume 1. Oxford University Press.
ISBN 978-0-19-518948-3.

12

11

[6] Fiona MacCarthy, Anarchy and Beauty: William Morris and his Legacy 1860-1960, London: National Portrait
Gallery, 2014 ISBN 978 185514 484 2

[27] Naylor 1971, pp. 96-97.

[7] Alan Crawford, C. R. Ashbee: Architect, Designer &

Romantic Socialist, Yale University Press, 2005. ISBN
0300109393

[29] Naylor 1971, p. 97.

[8] Wendy Kaplan and Alan Crawford, The Arts & Crafts
Movement in Europe & America: Design for the Modern
World, Los Angeles County Museum of Art
[9] Alan Crawford, W. A. S. Benson, Machinery, and the
Arts and Crafts Movement in Britain, The Journal of
Decorative and Propaganda Arts, Vol. 24, Design, Culture, Identity: The Wolfsonian Collection (2002), pp. 94117
[10] Nikolaus Pevsner, Pioneers of Modern Design, Yale University Press, 2005, ISBN 0-300-10571-1
[11] V&A, Wallpaper Design Reform
[12] Naylor 1971.
[13] Quoted in Nikolaus Pevsner, Pioneers of Modern Design
[14] Graeme Shankland, William Morris - Designer, in
Asa Briggs (ed.) William Morris: Selected Writings and
Designs, Harmondsworth: Penguin, 1980 ISBN 0-14020521-7
[15] William Morris, Useful Work versus Useless Toil, in
Asa Briggs (ed.) William Morris: Selected Writings
and Designs, Harmondsworth: Pengin, 1980 ISBN 0-14020521-7
[16] MacCarthy 1994, p. 351.
[17] Ashbee, C.R., A Few Chapters on Workshop Construction
and Citizenship, London, 1894.
[18] C.R.Ashbee, Should We Stop Teaching Art?, New York
and London: Garland, 1978, p.12 (Facsimile of the 1911
edition)
[19] Elisabeth Frolet, Nick Pearce, Soetsu Yanagi and Sori
Yanagi, Mingei: The Living Tradition in Japanese Arts,
Japan Folk Crafts Museum/Glasgow Museums, Japan:
Kodashani International, 1991
[20] Peter Floud, The crafts then and now, The Studio, 1953,
p.127
[21] MacCarthy 1994, p. 640-663.
[22] Jacqueline Sarsby Alfred Powell: Idealism and Realism
in the Cotswolds, Journal of Design History, Vol. 10, No.
4, pp. 375-397
[23] V&A, Victorian Dress at the V&A
[24] Victoria and Albert Museum. Vam.ac.uk. Retrieved
2010-08-28.
[25] Rosemary Hill, Gods Architect: Pugin and the Building of
Romantic Britain, London: Allen Lane, 2007
[26] David Pye, The Nature and Art of Workmanship, Cambridge University Press, 1968

REFERENCES

[28] Wildman 1998, p. 49.

[30] MacCarthy 2009.

[31] MacCarthy 1994, p. 602.
[32] Naylor 1971, p. 120.
[33] MacCarthy 1994, p. 591.
[34] Naylor 1971, p. 115.
[35] MacCarthy 1994, p. 593.
[36] Parry, Linda, William Morris and the Arts and Crafts
Movement: A Sourcebook, New York, Portland House,
1989 ISBN 0-517-69260-0
[37] Crane, Walter, Of the Arts and Crafts Movement, in
''Ideals In Art: Papers Theoretical Practical Critical'',
George Bell & Sons, 1905. Chestofbooks.com. Retrieved 2010-08-28.
[38] MacCarthy 1994, p. 596.
[39] Society of Designer Craftsmen. Society of Designer
Craftsmen. Retrieved 2010-08-28.
[40] Utopia Britannica. Utopia Britannica. Retrieved 201008-28.
[41] Court Barn Museum. Courtbarn.org.uk. Retrieved
2010-08-28.
[42] Letter, Joseph Nuttgens, London Review of Books, 13
May 2010 p 4
[43] Cormack, Peter (2015). Arts and Crafts Stained Glass
(First ed.). New Haven and London: Yale University
Press. ISBN 978-0-300-20970-9.
[44] Nicola Gordon Bowe and Elizabeth Cumming, The Arts
And Crafts Movements in Dublin and Edinburgh
[45] Arts and Crafts, Journal of the Royal Society of Arts,
Vol. 56, No. 2918, 23 October 1908, pp. 1023-1024
[46] Designing Britain Archived May 15, 2010, at the
Wayback Machine.
[47] MacCarthy 1994, p. 603.
[48] Nicola Gordon Bowe, The Irish Arts and Crafts Movement
(1886-1925), Irish Arts Review Yearbook, 1990-91, pp.
172-185
[49] M. MacDonald, Scottish Art (London: Thames and Hudson, 2000), ISBN 0500203334, p. 151.
[50] H. Lyons, Christopher Dresser: The People Designer
- 18341904 (Antique Collectors Club, 2005), ISBN
1851494553.
[51] kos Moravnszky, Competing visions: aesthetic invention
and social imagination in Central European Architecture
1867-1918, Massachusetts Institute of Technology, 1998

13

[52] Andrej Szczerski, Central Europe, in Karen Livingstone

and Linda Parry (eds.), International Arts and Crafts, London: V&A Publications, 2005

[74] Stuart Macdonald, The History and Philosophy of Art Education, London: University of London Press, 1970. ISBN
0 340 09420 6

[53] Naylor 1971, p. 183.

[75] Report of the Departmental Committee on the Royal College

of Art, HMSO, 1911

[54] Naylor 1971, p. 189.

[55] Szleky Andrs, Ks Kroly, Budapest, 1979
[56] Metropolitan Museum of Art: Monica Obniski, The
Arts and Crafts Movement in America"". Metmuseum.org. 1972-02-20. Retrieved 2010-08-28.
[57] Obniski.

[76] C.R.Ashbee, Should We Stop Teaching Art?, 1911

12 Bibliography and further reading

[58] Brandt, Beverly Kay. The Craftsman and the Critic:

Dening Usefulness and Beauty in the Arts and Crafts-era
Boston. University of Massachusetts Press, 2009. p. 113.

Ayers, Dianne (2002). American Arts and Crafts

Textiles. New York: Harry N. Abrams. ISBN 08109-0434-9.

[59] Green, Nancy E. and Jessie Poesch (1999). Arthur Wesley

Dow and American arts & crafts. New York, NY: Harry
N. Abrams, Inc. pp. 55126. ISBN 0810942178.

Boris, Eileen (1986). Art and Labor. Philadelphia:

Temple University Press. ISBN 0-87722-384-X.

[60] Edwards, Robert W. (2015). Pedro de Lemos, Lasting Impressions: Works on Paper. Worcester, Mass.: Davis Publications Inc. pp. 4111. ISBN 9781615284054.

Cathers, David M. (1981). Furniture of the American Arts and Crafts Movement. The New American
Library, Inc. ISBN 0-453-00397-4.

[61] Construction Begins on $40 Million Museum of the

American Arts & Crafts in Florida. ARTFIX Daily. 18
February 2015. Retrieved 3 March 2015.

Cumming, Elizabeth; Kaplan, Wendy (1991). Arts

& Crafts Movement. London: Thames & Hudson.
ISBN 0-500-20248-6.

[62] Nichols, Steve (18 February 2015). New, bigger, art museum coming to St. Pete. FOX 13 Pinellas Bureau Reporter. Archived from the original on February 21, 2015.
Retrieved 3 March 2015.

Cumming, Elizabeth (2006). Hand, Heart and Soul:

The Arts and Crafts Movement in Scotland. Birlinn.
ISBN 978-1-84158-419-5.

[63] George Orwell, The Road to Wigan Pier

[64] Tankard, Judith B. and Martin A. Wood. Gertrude Jekyll
at Munstead Wood. Bramley Books, 1998.
[65] Historic England. Bishopsbarns (1256793)". National
Heritage List for England. Retrieved 23 June 2016.
[66] The Art of Design (PDF). www.nationaltrust.org.uk.
Retrieved 26 June 2016.
[67] Historic England. Castle Drogo park and garden
(1000452)". National Heritage List for England. Retrieved 26 June 2016.
[68] The Gardens at Goddards. www.nationaltrust.org.uk.
Retrieved 26 June 2016.
[69] The Garden at Hidcote. www.nationaltrust.org.uk. Retrieved 6 July 2016.
[70] MacCarthy 1994, p. 603.
[71] Charles Harvey and Jon Press, William Morris and the
Royal Commission on Technical Instruction, Journal of
the William Morris Society 11.1, August 1994, pp. 31-34
[72] Birmingham Institute of Art and Design neart.ac.uk
[73] Everitt, Sian. Keeper of Archives. Birmingham Institute
of Art and Design. Retrieved 17 September 2011.

Kaplan, Wendy (1987). The Art that Is Life: The

Arts & Crafts Movement in America 1875-1920.
New York: Little, Brown and Company.
MacCarthy, Fiona (2009).
Morris, William
(18341896), designer, author, and visionary socialist".
Oxford Dictionary of National Biography (online ed.).
Oxford University Press.
doi:10.1093/ref:odnb/19322. (Subscription or UK
public library membership required.)
MacCarthy, Fiona (1994). William Morris. Faber
and Faber. ISBN 0-571-17495-7.
Naylor, Gillian (1971). The Arts and Crafts Movement: a study of its sources, ideals and inuence
on design theory. London: Studio Vista. ISBN
028979580X.
Parry, Linda (2005). Textiles of the Arts and Crafts
Movement. London: Thames and Hudson. ISBN
0-500-28536-5.
Wildman, Stephen (1998). Edward Burne-Jones,
Victorian artist-dreamer. New York: Metropolitan
Museum of Art. ISBN 9780870998584. Retrieved
2013-12-26.

14

13

Cathers, David M. (2014). So Various Are The

Forms It Assumes: American Arts & Crafts Furniture from the Two Red Roses Foundation. Marquand
Books. ISBN 978-0-692-21348-3.
Cathers, David M. These Humbler Metals: Arts and
Crafts Metalwork from the Two Red Roses Foundation Collection. Marquand Books. ISBN 978-0-61598869-6.
Kreisman, Lawrence. The Arts & Craft Movement in the
Pacic Northwest. Timber Press.

13

External links

Fiona MacCarthy, The old romantics, The

Guardian, Saturday 5 March 2005 01.25 GMT
Furniture makers of America and Canada during the
Arts & Crafts Movement
The rst public museum exclusively dedicated to the
American Arts & Crafts movement
Catalog lists with images of the major American
Arts & Crafts furniture makers

EXTERNAL LINKS

15

14
14.1

Text and image sources, contributors, and licenses

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