The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles and subsequently spread across the British Empire and to the rest of Europe and America.
Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. It is the root of the Modern Style, the British expression of what later came to be called the Art Nouveau movement, which it strongly influenced.
In Japan, it emerged in the 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation. It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards.
The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887, although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of historian Thomas Carlyle, art critic John Ruskin, and designer William Morris. In Scotland, it is associated with key figures such as Charles Rennie Mackintosh. Viollet le Duc's books on nature and Gothique art also play an important part in the esthetics of the Arts and Crafts movement.
The Arts and Crafts movement emerged from the attempt to reform design and decoration in mid-19th century Britain. It was a reaction against a perceived decline in standards that the reformers associated with machinery and factory production. Their critique was sharpened by the items that they saw in the Great Exhibition of 1851, which they considered to be excessively ornate, artificial, and ignorant of the qualities of the materials used.
This page is automatically generated and may contain information that is not correct, complete, up-to-date, or relevant to your search query. The same applies to every other page on this website. Please make sure to verify the information with EPFL's official sources.
The course traces the recurring reemergence of a rational approach in design and building form throughout the history of Western architecture, from the Middle Ages to the late 20th century.
William Morris (24 March 1834 – 3 October 1896) was a British textile designer, poet, artist, fantasy writer, and socialist activist associated with the British Arts and Crafts movement. He was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he helped win acceptance of socialism in fin de siècle Great Britain. Morris was born in Walthamstow, Essex, to a wealthy middle-class family.
Art Nouveau (ˌɑːr(t)_nuːˈvoʊ , aʁ nuvo; "New Art") is an international style of art, architecture, and applied art, especially the decorative arts. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.
The decorative arts are arts or crafts whose object is the design and manufacture of objects that are both beautiful and functional. It includes most of the arts making objects for the interiors of buildings, and interior design, but not usually architecture. Ceramic art, metalwork, furniture, jewellery, fashion, various forms of the textile arts and glassware are major groupings. Applied arts largely overlaps with decorative arts, and the modern making of applied art is usually called design.
The purpose of the thesis is to fill a gap in the publications about Viollet-le-Duc, outlining his profile as an architect through a chronological study of his projects, whether built or not, of his theoretic writings and, when useful, of his restoration w ...