The document provides an overview of the Arts and Crafts movement between 1880-1910. It discusses key influences like John Ruskin and William Morris who advocated for handcrafted goods and criticized the dehumanizing effects of industrialization. The movement sought to integrate art into everyday life through principles like craftsmanship, simplicity of form, and use of natural motifs. Notable architects like Philip Webb designed houses like the Red House that exemplified Arts and Crafts ideals through their use of local materials and emphasis on craft. The style became popular internationally and helped shape the aesthetic of the era.

1. Arts and
crafts
movement(1880s-1910s)

2. Outline
 Definition
 Birth of arts and crafts movement
 Influences
 Social reforms of arts and crafts movement
 Principles
 Characteristics
 Ideals from the art and crafts movement
 Architecture
 Features of arts and crafts movement houses
 John Ruskin
 William Morris
 Architects
 Decline of arts and crafts movement
 Arts and crafts movement in US
 Arts and crafts vs. Arts nouveau

3. Defining the Arts and Crafts
Movement
• The movement
represents in some
sense a revolt against
the hard mechanical
conventional life and
it's insensitivity to
beauty.
It is a protest against that so
called industrial progress
which produces shoddy
wares, the cheapness of
which is paid for by the lives
of their producers and the
degradation of their users.
It is a protest against the turning of
men into machines against artificial
distinctions in art, and against
making the immediate market value
or possibility of profit the chief test
of artistic merit
It also advances the
claim of all and each to
the common possession
of beauty in things
common and familiar.
Walter Crane a leading figure in the development of
the Arts and Crafts movement defined it as follows:

4. Birth of Arts and Crafts
Movement
Arts & Crafts 1875-1915 The
Arts & Crafts movement began
in Britain as a reaction to the
de-humanizing effects of the
late 19th century
industrialization.
A rose design for stained
glass by E.A Taylor.
It was a social and artistic movement of
the second half of the 19th cent.
emphasizing a return to handwork,
skilled craftsmanship, and attention to
design in the decorative arts, from the
mechanization and mass production of
the Industrial Revolution.
It was inspired by the ideas
of architect Augustus
Pugin (1812–1852),
writer John Ruskin (1819–
1900), and artist William
Morris (1834–1896).[

5. Some Key Forces which gave birth to the
movement
Rejection of Classical and Italianate
architecture, and the revival of the
Gothic Style. Rebellion against
industrialization and mass production by
machines.
Leading figures believed in a socialist
or utopian society, striving for good
quality of life for all, including art for the
people, by the people.
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, artificial and
ignored the qualities of the
materials used.
Nostalgia for the medieval age seen as the
golden age of creativity and freedom.
Artists and craftsman were viewed as
equals, art was no longer a separate or
superior activity.
The revival of craftsmanship, honesty in
construction, and truth to materials.

6. Influences
 Socialism - the ideas of John Ruskin
and early Marx, especially the
dehumanising effects of
industrialization
 Linear character and verticality
taken from graphic prints of William
Blake, Aubrey Beardsley, Jan Toorop
-Influence of Gothic revival
 Aesthetic ideas were also borrowed
from Medieval European and Islamic
sources
 Japanese ideas were also
incorporated early Arts and Crafts
forms
• Medieval Guilds provided a model
for the ideal craft production system

7. Social reforms of arts and
crafts movement
 change in working
condition
Believe in restoration
power of craftsmanship
Simple life
Arts as a way of life
Artisanal production
improved laborers’
conditions and edified
society

8. Principles
Design unity
Joy in labor
Individualism
Regionalism

9. Characteristics
Simple form and shape :
Simple forms were one of
the hallmarks of the Arts
and Crafts style.
There was no extravagant or
superfluous decoration
and the actual
construction of the object
was often exposed. Natural motifs : Nature
was an important source
of Arts and Crafts motifs.
The patterns used were
inspired by the flora and
fauna of the British
countryside.

10. • Truth to materials : Preserving
and emphasizing the natural
qualities of the materials used
to make objects was one of
the most important principles
of Arts and Crafts style. The vernacular :The vernacular,
or domestic, traditions of the
British countryside provided the
main inspiration for the Arts and
Crafts Movement. Many of
those involved set up workshops
in rural areas and revived old
techniques
Crafts skill required to
manufacture.
Manufactured by one skilled
person or a small group.
Not mass produced on
production line

11. Combination
of simplicity,
good design
and craft
work.
Stereo metric,
geometric, large
“vertical gothic”
windows, cubic forms,
rational
Flexible layout,
influenced the work of
Mies Van der Rohe.
fluid, delicate décor of
arches, entrance,
alcoves, stairs,
balustrade, interior or
details in wood and
metal
Traditional approaches
and materials such as
stone with it is massive
character mixed with
modern materials iron,
glass.

12. The movement
Rejected
 The eclectic
historicism and
excessive
ornamentation of
earlier and
concurrent
Victorian styles
 The cold,
impersonal
aesthetics brought
on by the Industrial
Revolution
Embraced
 A closer relationship
between designer,
maker, and object
 The integration of art
into life
 Objects and furniture
that were smaller, less
ornamented, more
hand-crafted

13. Ideals from the Arts and
Crafts Movement
The truth and beauty in these simple
ideals can be an inspiration in today's
busy and often crazy world. Here are a
few Craftsman Style ideals for you to
enjoy and use as you see fit:
simple, refined aesthetics (beauty)
simple, functional design (utility)
living simply
social reform (individuals more rational;
society more harmonious)
the virtue of a well decorated middle
class home
handcrafted objects
high quality craftsmanship

14. The joy of working and crafting with
one's own hands
Creating objects well designed and
affordable to all
Creating harmony with nature
Using and sustaining natural materials
Maintaining a sense of space and
environment
Staying spiritually connected to home
and nature
Creating space for inner peace away
from jobs and factories

15. Architecture
 In the nineteenth century the taste in design for
buildings moved away from Classical styles.
 In the place of classical styles the new
architectural styles of, first, Gothic Revival, and
then Arts and Crafts emerged
 Arts and Crafts architecture followed these
principles, allowing the function of the building
and the activities within it to determine the
outer shape and the construction, leaving out
excessive ornamental features.
 One departure from Gothic style was that Arts
and Crafts buildings tended to have graceful curved
arches rather than pointed and many were designed
on a modest scale, in styles reminiscent of the
manorial halls and half timbered cottages of Tudor
or Elizabethan England.
 The preference for local slate, and red brick, for
English Oak and for the cosy Inglenook fireplace
rather than ornate lead roofs and carved marble
chimney piece defined the Arts and Crafts style

16.  There was also a contrast in
values between classical
architecture and Arts and Crafts.
 Classical architecture was seen
as being built by slave labour or,
in more recent times, by wage
slaves, whereas Arts and Crafts
relied on a partnership between
designer and craftsman in which
the craftsman was highly
respected alongside the artist
and architect .
 There was too a greater concern
for equality, and a concern to
improve the quality of life which
a building could provide for its
occupants.

17. Features of the arts and
crafts movement houses
• Porch with thick
square or round
columns
• Stone porch
supports
•Wood ,stone, stucco :
sliding low pitched roof,
wide eaves with
triangular brackets.
•Exposed roof rafters
Exterior
chimney made
with stone

18. Open floor
plans; few
hallways
Beamed
ceilings
windows
with
stained
or
leaded
glass
Dark wood
wainscoting
and moldings
Built-in cabinets ,shelves
and seating's
Numerous
windows

19. John Ruskin Inspired by
Pugin,
Ruskin
advocated the
design of the
past, but was
not married to
Gothic Style
– or any one
style.
Writer and artist

21. • You must either make a tool of the creature, or a man
of him. You cannot make both. Men were not intended
to work with the accuracy of tools, to be precise and
perfect in all their actions. If you will have that precision
out of them, and make their fingers measure degrees
like cog-wheels and their arms strike curves like
compasses, you must unhumanize them...” John Ruskin,
The Stones of Venice: Volume II (1853)
• "And the great cry that rises from all our manufacturing
cities, louder than their furnace blast, is all in very deed
for this - that we manufacture everything there except
men; we blanch cotton, and strengthen steel, and refine
sugar, and shape pottery; but to brighten, to
strengthen, to refine, or to form a single living spirit,
never enters into our estimate of advantages." John
Ruskin, The Stones of Venice: Volume II (1853)

22. Ruskin style
 He is certainly one of the
greatest masters of English
prose style.
 In the earlier writings of
Ruskin, We find an
ornamental, gorgeous prose.
 Picturesque in his literary
expression.
 He is rich in the power of
illustration.
 Ruskin was not the inventor of
Pre-Raphaelitism or the Gothic
Revival
 Ruskin argued for the
secularization of the Gothic
and for its use in new
domestic buildings and
churches.
Ruskin believed in the power of art to
transform the lives of people
oppressed more by visual illiteracy
than by poor material conditions.
His creed was:
‘There is no
wealth but life

23. Sketches and watercolor by Ruskin
What we think,
or what we
know, or what
we believe is, in
the end, of little
consequence.
The only
consequence is
what we do.”
 The union of art and labour
in service to society, would
create the largest number of
happy human beings.
 Socialism
 Ruskin Believed that
machines and factory work
limited human happiness
 Advocated finding joy in
work through a closer
relationship with craft

24. Principles
 His thought is based on the
following
 Beauty and Art are closely
connected.
 Beauty has a moral
function: it helps us develop
a high moral sense;
 Art contributes to the
spiritual health of man.
 All great art derives from
deep morality.
 Industrial society, lacks
spiritual values, so cannot
produce great art;
 the Middle Ages society is
characterized by deep
morality.

25. William Morris (1834-
1896)
London, England. Morris was a brilliant two
dimensional pattern designer.
 In 1861 he founded his first
company which produced a wide
range of decorative objects for
the home including furniture,
fabrics, wallpaper and stained
glass.
William Morris was the central figure in
the Arts and Crafts Movement and one of
the most important and influential
designers in British History.
William Morris was an artist designer,
printer, typographer, bookbinder,
craftsman, poet, writer, and champion of
socialist ideals.
Founder of Morris & company ,The
kelmscott press
Morris combined his artistic skills with
strong political beliefs.
A committed conservationist and
Socialist, he dedicated his life to the idea
that art should improve the lives of
ordinary people.

26.  Inspired by
 - pre Raphaelite
brotherhood
 -writings of John Ruskin
He believes that nature was
perfect example of God’s
creation.

27.  The arts and crafts movement
was a reaction against the poor
quality of design during the
industrial revolution.
 The members of the arts and
crafts movement believed the
growth has destroyed
traditional skills and had
removed the pride that a
craftsman could find in his work.
 The members formed
themselves into crafts guilds,
based on the medieval
examples in order to encourage
high standards of design and
provide a supportive working
environment.

30. Red house
• Phillip webb
architect

31. The Red House
 The Red House, in
Bexleyheath, was designed
in 1858-1860 by Philip
Webb for his friend William
Morris.
 Webb rejected the grand
classical style and instead
found inspiration in British
vernacular architecture.
 With its well-proportioned
solid forms, deep porches,
steep roof, pointed window
arches, brick fireplaces and
wooden fittings,
 The Red House
characterizes the early Arts
and Crafts style
named because of
its red brick and tile
construction
Commissioned by Morris, Philip
Web built the Red House at
Bexley Heath in Kent.
The emphasis on basic form,
sound materials and good
craftsmanship had great appeal
to architects who in turn
contributed to a poetic phase
of European architecture.

32.  In building the house,
every brick and tile was
carefully selected and
placed to give variation of
colour and to avoid the
impression of any
mechanical uniformity.
 The Red House perhaps
the best known building
associated with the Arts
and Crafts movement and
appears in virtually every
book relating to Arts and
Crafts
The interior design included murals
by Burne-Jones and Rossetti and
massive furniture designed by Webb
and by Morris

33. the use of exposed red brick for the
exterior both gave the house its
name and reveals the innate beauty
of the construction materials.
Morris and Webb valued the specific
beauty of natural materials, which
they saw as far superior to and
healthier than industrially produced
materials.
Red House is L-shaped, with the
rooms laid out for maximum
efficiency and clarity. The L-shaped
plan also allows the house to embrace
the gardens as a part of the domestic
sphere, as well as creates an
asymmetry that is typical of
traditional Gothic structures that
were built over long periods of time.

34. The house was to represent a
protest against industrialism
through its:
Informality
Absence of decoration
Simple vernacular
The concept of an integral whole
extended to the interior design as
well. Webb, Morris, his wife, Jane,
and the painter Edward Burne-Jones
all worked together to design
everything in the home, from the
wallpaper to the stained-glass
windows to the built-in cabinets and
furniture, so that all celebrated the
beauty of nature and the medieval
guild ideal

35. Other original built-in
furniture is present in the
main living room on the
second floor, notably a
fireplace painted with Morris’s
motto.
 This room also has paintings
by Edward Burne-Jones.
The house is entered through a large
wooden door that leads to a rectangular
hallway. A settle Morris decorated with
illustrations from the medieval German
epic Niebelungenlied is to the right.
The hallway is filled with light from the
stained-glass windows. T
The original rustic dining room table
remains, along with the decorative arch in the
brickwork around the fireplace
the dining room to the right
contains the original hutch
designed by Philip Webb, which
has Gothic trefoil motifs and
is painted in “dragon’s blood” (a
deep red-brown favored by Arts
and Crafts practitioners).
Stained glass decorated by
Morris, his family and their
friends is found throughout the
house.

36. Architects
• The important contribution
of architects such as Pugin
and Voysey stems from
their involvement in the
design of furnishing and
decoration.
• They continued their
interest after the building
structure was complete,
and followed through into
interior design and
decorative art.
This interest beyond the architectural
started early in the history of the
movement when architects were unable
to find the right kind of furniture to
match the new style of buildings which
they had designed.
Neither the furniture available from
manufacturers at the time, nor the
antique furniture which could be
acquired fitted in with the new styles and
so architects designed furniture and
fittings to match the buildings and
interiors which they had created.

37. These architect-
designers left their
personal touch on the
smallest detail of the
design inside and
outside of the building.
As well as including
designs for furniture
,they often designed the
light fittings, wallpaper,
door furniture, and even
keys, window latches
,doorbells and clocks.
the design for a
clock by Charles
Voysey.

38. The objects made during the arts and crafts
movement were smaller, affordable such as
textiles, pottery, furniture etc.

39. Glasgow school of arts

45. Cr Ashbee (1863-1942)
 Influenced by
 socialism of William
Morris (established
guild and school of
handicraft in 1888 in
the slums of white
chapel)
 Works of John Ruskin
Charles Robert Ashbee was a major figure in the
Arts and Crafts Movement.
He designed many important pieces of jewelry
and silver tableware for the Guild of Handicraft,
which he established in 1888 in the East End of
London.
The Guild's work is characterized by plain
surfaces of hammered silver, flowing wirework
and colored stones in simple settings.

46. 37 Cheyne Walk, London
37 Cheyne Walk was
built by C.R. Ashbee in
1893-1894.
 It was the home of his
mother and sister and
also contained Ashbee's
architectural offices.
The house was known
as The Ancient Magpie
and Stump after a public
house which once stood
on the site

47. W.R Lethaby (1857-1931)
 Influenced by
 His father and lay
preacher
 Society of protection
of ancient buildings

48. Phillip web• Architect of the first arts and
crafts building – the Red house
Philip Webb is often called the father of the
Arts & Crafts movement. Famous for his
comfortable, unpretentious country homes,
Philip Webb also designed furniture,
wallpaper, tapestries, and stained glass.

49. C. F. A. Voysey (1857-
1941)
 Charles Francis Annesley
Voysey was one of the
most innovative Arts
and Crafts architects.
 He was also a very
versatile designer and
produced designs for
wallpaper, fabrics, tiles,
ceramics, furniture and
metalwork.
Some of his patterns were used for objects in a
wide variety of materials. Voysey had a highly
original style which combined simplicity with
sophistication.
He became particularly famous for his
wallpaper and textile designs which feature
stylised bird and plant forms with bold
outlines and flat colours

50. The Orchard, Chorleywood
 C.F.A. Voysey designed The
Orchard in Chorleywood for
himself and his wife in 1899.
 Like other Arts and Crafts
designers, Voysey was interested
in vernacular traditions.
With its sparse
decoration and plain and
simple furnishings, The
Orchard was very
different from the usual
dark and cluttered
Victorian interior.
This simplicity
anticipates 20th-century
modern styles.

51. The Decline of Arts and Crafts
 Despite its high ideals, the Arts and Crafts Movement was
essentially flawed.
 Their opposition to modern methods of production and
the tendency to look back to the medieval world, rather
than forward to a progressive era of complete
mechanization, was what eventually sounded the death
knell of the movement.
 They could only fail in their socialist ideal of producing
affordable quality hand-crafted design for the masses as
the production costs of their designs were so high that
they could only be purchased by the wealthy.
 Also, any movement which continually looks to the past
for its inspiration must have a limited life span. There are
only so many ways you can reinterpret the past without
becoming repetitive.

52.  However,in time the English Arts and Crafts movement
came to stress craftsmanship at the expense of mass
market pricing.
 The result was exquisitely made and decorated pieces
that could only be afforded by the very wealthy.
 Thus the idea of art for the people was lost, and only
relatively few craftsman could be employed making
these fine pieces.
 This evolved English Arts and Crafts style came to be
known as "Aesthetic Style." It shared some
characteristics with the French/Belgian Art Nouveau
movement.

53.  However, the greatest legacy of
the Arts and Crafts movement
was their understanding of the
relationship between design
and our quality of life. This set
the example for others who
would later attempt to use the
power of industrial mass
production in the service of
good design. Some designers, such as
Christopher Dresser 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.DR. CHRISTOPHER DRESSER (1834-1904)
'Teapot', 1879

54. Arts and crafts movement in
us
 However in the United States, the Arts and Crafts ideal of design for the
masses was more fully realized, though at the expense of the fine
individualized craftsmanship typical of the English style.
 In New York, Gustav Stickley was trying to serve a burgeoning market of
middle class consumers who wanted affordable, decent looking
furniture. By using factory methods to produce basic components, and
utilizing craftsmen to finish and assemble, he was able to produce
sturdy, serviceable furniture which was sold in vast quantities, and still
survives.
 The rectilinear, simpler American Arts and Crafts forms came to
dominate American architecture, interiors, and furnishings in the late
nineteenth and early twentieth century.
 The term Mission style was also used to describe Arts and Crafts
Furniture and design in the United States. The use of this term reflects
the influence of traditional furnishings and interiors from the American
Southwest, which had many features in common with the earlier British
Arts and Crafts forms

55.  Charles and Henry Greenewere important Mission style architects
working in California.
 Southwestern style also incorporated Hispanic elements
associated with the early Mission and Spanish architecture, and
Native American design.
 The result was a blending of the arts and crafts rectilinear forms
with traditional Spanish colonial architecture and furnishings.
 Mission Style interiors were often embellished with Native
American patterns, or actual Southwestern Native American
artifacts such as rugs, pottery, and baskets.
 The collecting of Southwestern artifacts became very popular in
the first quarter of the twentieth century.

56. Arts and
Crafts
 Arts and Crafts developed in
England in the 1860s.
 Arts and Crafts focuses on
direct, handcrafted creations.
 The movement represents in
some sense a revolt against
the hard mechanical
conventional life and it's
insensitivity to beauty.
 Arts and Crafts designers
reacted against these
influences of the industrial
revolution, insisting on hand
techniques rather than
assembly lines.
 Primarily a decorative arts
movement about *how* things
are made .
Art Nouveau
 Art Nouveau arose in the
Belle Epoque of the 1890s
inParis, Munich (Jugendstil),
and Wiener (Sezession).
 Art Nouveau fully embraces
mass production with
brightly colored posters and
décortive style.
 Art Nouveau is a rejection of
the European Academic
Style
 Art Nouveau artists began to
bend metal and glass into
strange, new shapes.
 An art movement about
*what* is made .

57. Arts and crafts
 William Morris, naturally,
was extremely adamant
about staying far from
industrialized products.
 While Morris’ style was
more botanic and
decorative.
 Morris was customized.
Art Nouveau
 Henri de Toulouse-Lautrec,
work were almost
completely mass-produced,
as he was responsible for
creating posters for the
Moulin Rouge cabaret.
 Lautrec relied on flat,
bold colors and strict
outlines.
 Lautrec was commercial.