The Arts and Crafts movement that swept the United States and Great Britain from roughly 1880 to 1920 was a response to the industrialization of the late 19th century. It was a call on the part of thinkers, poets, artists, and designers to return to a handmade aesthetic, in which craftsmanship was paramount, design was nature-inspired , and construction methods were straightforward, simple, and undisguised.
English art critic John Ruskin had actually articulated the movement’s founding principles several decades earlier. He considered the prevailing Victorian aesthetic decadent and argued for working conditions that considered the happiness of craftsmen. Pattern designer William Morris put Ruskin’s theories into practice when he established Morris, Marshall, Faulkner & Co. in 1861 to create everything from furniture to wallpaper to fabrics to tapestries.
Another craftsman to put the ideals of Arts and Crafts into action was Charles Robert Ashbee, who established his Guild of Handicraft in 1888 in the slums of London’s East End. The goal was to produce furniture, metalware, and jewelry in an atmosphere of fair wages, good working conditions, and cooperation.
Most British artists of the day did not take the movement’s social side that far. Instead, they contented themselves to producing furniture, ceramics, metalwork, and jewelry that hued to the visual principles of the movement, which got its formal name of Arts and Crafts in 1888.
Liberty & Co. in London brought the movement to the masses with chairs, plant stands, bookcases, and buffets, mostly in oak and mahogany. Individual designers of the day included William De Morgan, whose earthenware vases often suggested Persian influences.
Scotsman Charles Rennie Mackintosh, also considered a practitioner of Art Nouveau (which ran concurrently with the Arts and Crafts period), was another leader. From his Glasgow workshop, he produced handsome desks and other pieces of furniture. His high-backed chairs, especially the ones with trellis backs, are considered his signature.
Robert “Mouseman” Thompson arrived on the scene a little later. His charming gimmick was to adorn a carved mouse on the side of every piece of furniture he made...
In the United States, the Arts and Crafts movement was warmly embraced. Gustav Stickley published a highly influential magazine called The Craftsman from 1901 to 1916. Through his Craftsman Workshops in Syracuse, New York, he also produced furniture and metalwork.
Two of Stickley’s brothers, John George and Albert, established their own firm, Stickley Bros. Co., in Grand Rapids, Michigan in 1891. After John George left to start yet another Stickley company with yet another brother (L. & J. G. Stickley in Fayetteville, New York with brother Leopold), Albert carried on at Stickley Bros., eventually labeling his pieces with a tag that read "Quaint Furniture."
Leopold and John George produced pieces for one of the 20th century's greatest architects, Frank Lloyd Wright. Today Wright is more closely associated with what we now call the Prairie School, a type of architecture that emphasized horizontal lines and eschewed ornamentation. But at the turn of the 20th century, he was considered one of the leading practitioners of Arts and Crafts. Importantly, Leopold and John George were not above using mechanical techniques to produce their pieces. Thus, they embraced the aesthetic of Arts and Crafts if not its social and philosophical underpinnings.
Louis Comfort Tiffany was perhaps even more famous than Stickley, although like Macintosh, his style straddled Arts and Crafts and Art Nouveau. Some of the finest examples of the former are his lamps with ceramic bases by Grueby Faience Company of Massachusetts.
Speaking of ceramics, the oldest pottery in the United States, Fulper Pottery Company, also became a proponent of Arts and Crafts with its 1909 Vasecraft line. Rookwood Pottery was a breeding ground for numerous Arts and Crafts ceramists — at one time or another, Artus Van Briggle, Matthew A. Daly William P. MacDonald, Albert Valentien, and John D. Wareham were all on staff.
More difficult to categorize was George Ohr, the so-called "Mad Potter of Biloxi, Mississippi," whose deformed and pinched vases fairly drip with candy-colored glazes. Newcomb College pottery from New Orleans went the other way, promoting simply-shaped vases and plates, usually with floral decorations in soft, pastel glazes.
Regions developed their own specialties. New York was the home of Roycroft, which excelled in copper objects for the home, handmade books, and fine wooden furniture. In Northern California, Arequipa Pottery of Fairfax imported future Fiesta visionary Frederick H. Rhead to design its pieces from 1910-1912. Dirk Van Erp was another San Francisco Bay Area artisan of renown: His metal vases featured his trademark "warty" surface produced by hand-hammering.
In Southern California, Pasadena was the center for Arts and Crafts. In 1908, architects Charles Sumner and Henry Matthew Greene designed what many consider to be the movement’s architectural masterpiece for David and Mary Gamble. A year later, tilemaker Ernest T. Bachelder established a school devoted to the movement.
Meanwhile, in Chicago and Boston, jewelry in the Arts and Crafts style was very popular. The Kalo Shop opened in Chicago in 1900. And in Boston, Frank Gardner Hale and Edward E. Oakes were among that city’s leading jewelry designers.
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Bowled over by MFA's delightful ceramics showBoston Globe, January 22nd
It was produced in 1899 at the all-women Newcomb Pottery in Louisiana, one of several turn-of-the-century potteries that were influenced by the Arts and Crafts movement, and pioneered art pottery in the US. It's beautiful. Looking at it, you register...Read more
atelier van lieshout power hammers into grimm galleryDesignboom, January 16th
but at the same time transcend, the utopian socialist arts and crafts movement that tried to close the gap between designer, producer and user. just like the arts and crafts movement wanted to protect craftsmanship against the effects of...Read more
The Driehaus Museum Presents: Maker & Muse: Women and Early Twentieth ...ArtfixDaily, January 15th
Each of the Museum's second-floor galleries is devoted to jewelry showcasing the five areas of design and fabrication: the Arts and Crafts Movement in Britain, Art Nouveau in France and Belgium, Jugendstil in Germany and Austria, Louis Comfort Tiffany...Read more
American Tudor homes remain in styleTribune-Review, January 10th
That's because genuine Tudor, as the English know it, is mostly a grandly ornate style from England's 16th century. Much of our Tudor architecture, on the other hand, is derived from the architecture of what's called the English Arts and Crafts...Read more
Arts and Crafts Project Given Lottery FundsChiswickW4.com, January 9th
Sue Bowers, Head of Heritage Lottery Fund London, says: " Given the proximity of these two riverside homes – shrines to the Arts and Crafts movement – we are delighted to support this joint project that will underline the close working relationship...Read more
Leicestershire's hidden arts and crafts gem is set to open to the publicHinckley Times, January 5th
It was designed and built by Leicstershire's most famous architectural son, Ernest Gimson, a follower of William Morris and the English Arts and Crafts Movement, which eschewed the new age of industrialisation for integrity of labour, craftsmanship and...Read more
Arts and Crafts to Modern MastersMaine Antique Digest, December 30th
The desk is similar to a desk, decorated with nail heads and Art Nouveau piercings and carving, at the Virginia Museum of Fine Arts in Richmond and illustrated in Treasures of the American Arts and Crafts Movement by Tod M. Volpe and Beth Cathers...Read more
A Gorgeous iPad Game Inspired By The Arts and Crafts MovementCo.Design, October 31st
Last week, the Victoria & Albert Museum released "Strawberry Thief," an iPad app based on the textiles of 19th-century British Arts and Crafts movement designer William Morris. Sophia George, the museum's first game designer-in-residence, studied one...Read more