Editing Arts and Crafts movement (section)

==Development==
Morris's designs quickly became popular, attracting interest when his company's work was exhibited at the [[1862 International Exhibition]] in London. Much of this work is directly inspired from the Dictionnaire of Viollet le Duc. Most of Morris & Co's early work was for churches and Morris won important interior design commissions at [[St James's 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 industrial methods.

The spread of Arts and Crafts ideas during the late 19th and early 20th centuries resulted in the establishment of many associations and craft communities, although Morris had little to do with them because of his preoccupation with socialism at the time. A hundred and thirty Arts and Crafts organisations were formed in Britain, most between 1895 and 1905.{{sfn|MacCarthy|1994|page=602|}}

In 1881, [[Eglantyne Louisa Jebb]], [[Mary Fraser Tytler]] and others initiated the [[Home Arts and Industries Association]] to encourage the working classes, especially those in rural areas, to take up handicrafts under supervision, not for profit, but in order to provide them with useful occupations and to improve their taste. By 1889 it had 450 classes, 1,000 teachers and 5,000 students.{{sfn|Naylor|1971|p=120}}

In 1882, architect [[A.H.Mackmurdo]] formed the [[Century Guild of Artists|Century Guild]], a partnership of designers including [[Selwyn Image]], [[Herbert Horne]], Clement Heaton and [[Benjamin Creswick]].{{sfn|MacCarthy|1994|page=591}}{{sfn|Naylor|1971|p=115}}

In 1884, the [[Art Workers Guild]] was initiated by five young architects, [[William Lethaby]], [[Edward Schroeder Prior|Edward Prior]], [[Ernest Newton]], [[Mervyn Macartney]] and [[Gerald C. Horsley]], with the goal of bringing together fine 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.{{sfn|MacCarthy|1994|page=593}} It still exists.

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 first exhibition in the [[New Gallery (London)|New Gallery]], London, in November 1888.<ref>Parry, Linda, ''William Morris and the Arts and Crafts Movement: A Sourcebook'', New York, Portland House, 1989 {{ISBN|0-517-69260-0}}</ref> It was the first show of contemporary decorative arts in London since the [[Grosvenor Gallery]]'s Winter Exhibition of 1881.<ref>{{cite web|url=http://chestofbooks.com/arts/essays/Theoretical-Practical-Critical-Ideals/Of-The-Arts-And-Crafts-Movement-Part-4.html |title=Crane, Walter, "Of the Arts and Crafts Movement", in ''Ideals In Art: Papers Theoretical Practical Critical'', George Bell & Sons, 1905 |publisher=Chestofbooks.com |access-date=28 August 2010}}</ref> [[Morris & Co.]] was well represented in the exhibition with furniture, fabrics, carpets and embroideries. [[Edward Burne-Jones]] observed, "here for the first time one can measure a bit the change that has happened in the last twenty years".{{sfn|MacCarthy|1994|page=596}} The society still exists as the Society of Designer Craftsmen.<ref>{{cite web|url=http://www.societyofdesignercraftsmen.org.uk/ |title=Society of Designer Craftsmen |publisher=Society of Designer Craftsmen |access-date=28 August 2010}}</ref>

In 1888, [[Charles Robert Ashbee|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 Ashbee's scheme trivial. From 1888 to 1902 the guild prospered, employing about 50 men. In 1902 Ashbee relocated the guild out of London to begin an experimental community in [[Chipping Campden]] in the [[Cotswolds]]. The guild's work is characterised by plain surfaces of hammered silver, flowing wirework and colored stones in simple settings. Ashbee designed jewellery and silver tableware. The guild flourished 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.<ref name=V&A/><ref>{{cite web|url=http://www.utopia-britannica.org.uk/pages/Ashbee.htm |title=Endeavours towards an Arts & Crafts Utopia |publisher=Utopia Britannica |access-date=}}</ref><ref>{{cite web |url=http://www.courtbarn.org.uk/home |title=Court Barn Museum |publisher=Courtbarn.org.uk |access-date=28 August 2010 |archive-url=https://web.archive.org/web/20100129132321/http://www.courtbarn.org.uk/home |archive-date=29 January 2010 |url-status=dead }}</ref>

[[C.F.A. Voysey]] (1857–1941) 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 outlines with flat colors, were used widely.<ref name=V&A/>

Morris's thought influenced the [[distributism]] of [[G. K. Chesterton]] and [[Hilaire Belloc]].<ref>Letter, Joseph Nuttgens, London Review of Books, 13 May 2010 p 4</ref>
[[File:02 Coleton Fishacre.JPG|thumb|[[Coleton Fishacre]] was designed in 1925 as a holiday home in Kingswear, Devon, England, in the Arts and Crafts tradition.]]

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,<ref>{{cite book|last1=Cormack|first1=Peter|title=Arts and Crafts Stained Glass|date=2015|publisher=Yale University Press|location=New Haven and London|isbn=978-0-300-20970-9|edition=First}}</ref> leatherwork, lacemaking, embroidery, rug making and weaving, jewelry and metalwork, [[Vitreous enamel|enamel]]ing and ceramics.<ref name="dublin">Nicola Gordon Bowe and Elizabeth Cumming, ''The Arts And Crafts Movements in Dublin and Edinburgh''</ref> By 1910, there was a fashion for "Arts and Crafts" and all things hand-made. There was a proliferation of amateur handicrafts of variable quality<ref>"Arts and Crafts", ''Journal of the Royal Society of Arts'', Vol. 56, No. 2918, 23 October 1908, pp. 1023–1024</ref> and of incompetent imitators who caused the public to regard Arts and Crafts as "something less, instead of more, competent and fit for purpose than an ordinary mass produced article."<ref>[[Noel Rooke]], "The Craftsman and Education for Industry", in ''Four Papers Read by Members of the Arts & Crafts Exhibition Society'', London: Arts and Crafts Exhibition Society, 1935</ref>

The Arts and Crafts Exhibition Society held eleven exhibitions between 1888 and 1916. By the outbreak of war in 1914 it was in decline and faced a crisis. Its 1912 exhibition had been a financial failure.<ref name=harrod>Tania Harrod, ''The Crafts in Britain in the 20th Century'', Yale University Press, 1999. {{ISBN|0-300-07780-7}}</ref> While designers in continental Europe were making innovations in design and alliances with industry through initiatives such as the [[Deutsche Werkbund]] and new initiatives were being taken in Britain by the [[Omega Workshops]] and the [[Design in Industries Association]], the Arts and Crafts Exhibition Society, now under the control of an old guard, was withdrawing from commerce and collaboration with manufacturers into purist handwork and what Tania Harrod describes as "decommoditisation"<ref name=harrod/> Its rejection of a commercial role has been seen as a turning point in its fortunes.<ref name=harrod/> Nikolaus Pevsner in his book ''Pioneers of Modern Design'' presents the Arts and Crafts movement as design radicals who influenced the modern movement, but failed to change and were eventually superseded by it.<ref name=pevsner/>

===Later influences===
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 inter-war years, and he expounded them in ''A Potter's Book'', 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.<ref>[http://vads.ahds.ac.uk/learning/designingbritain/html/crd_desref.html Designing Britain] {{webarchive |url=https://web.archive.org/web/20100515141802/http://vads.ahds.ac.uk/learning/designingbritain/html/crd_desref.html |date=15 May 2010 }}</ref>

One of its main promoters, [[Sydney Gordon Russell|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 furniture-making since Ashbee, and he was a member of the Arts and Crafts Exhibition Society. William Morris's biographer, [[Fiona MacCarthy]], detected the Arts and Crafts philosophy even behind the [[Festival of Britain]] (1951), the work of the designer [[Terence Conran]] (1931–2020)<ref name=maccarthy2014/> and the founding of the British [[Crafts Council]] in the 1970s.{{sfn|MacCarthy|1994|page=603}}