Editing Arts and Crafts movement (section)

==By region==

[[File:Mackintosh Window (304516308).jpg|thumb|Stained glass window, The Hill House, Helensburgh, Argyll and Bute]]
=== The British Isles ===

==== Scotland ====
The beginnings of the Arts and Crafts movement in Scotland were in the stained glass revival of the 1850s, pioneered by [[James Ballantine]] (1806–1877). 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]] (1838–1891), who had probably studied with Ballantine, and was directly influenced 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.<ref>M. MacDonald, ''Scottish Art'' (London: Thames and Hudson, 2000), {{ISBN|0-500-20333-4}}, p. 151.</ref>

The Glasgow-born designer and theorist [[Christopher Dresser]] (1834–1904) was one of the first, and most important, independent designers, a pivotal figure in the [[Aesthetic Movement]] and a major contributor to the allied [[Anglo-Japanese]] movement.<ref>H. Lyons, ''Christopher Dresser: The People Designer – 1834–1904'' (Antique Collectors' Club, 2005), {{ISBN|1-85149-455-3}}.</ref> The movement had an "extraordinary flowering" 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]] (1868–1928) and the Glasgow School of Art were to influence others worldwide.<ref name="grove" /><ref name="dublin" />

[[File:The Robert Owen Museum, Newtown.jpg|thumb|The Robert Owen Museum, [[Newtown, Powys|Newtown, Wales]], by [[Frank Shayler]]]]

====Wales====
The situation in Wales was different from elsewhere in the UK. Insofar as craftsmanship was concerned, Arts and Crafts was a ''revivalist'' campaign. But in Wales, at least until [[World War I]], a genuine craft tradition still existed. Local materials, stone or clay, continued to be used as a matter of course.<ref>{{Cite book|last=Hilling|first=John B.|chapter-url=https://books.google.com/books?id=Oe2VDwAAQBAJ&q=Arts+and+Crafts+Movement+Wales&pg=PA221|title=The Architecture of Wales: From the First to the Twenty-First Century|date=15 August 2018|publisher=University of Wales Press|isbn=978-1-78683-285-6|pages=221|language=en|chapter= 'Arts and Crafts' to Early Modernism, 1900 to 1939}}</ref>

Scotland become known in the Arts and Crafts movement for its stained glass; Wales would become known for its pottery. By the mid 19th century, the heavy, salt glazes used for generations by local craftsmen had gone out of fashion, not least as mass-produced ceramics undercut prices. But the Arts and Crafts Movement  brought new appreciation to their work. Horace W Elliot, an English gallerist, visited the [[Ewenny Pottery]] (which dated back to the 17th century) in 1885, to both find local pieces and encourage a style compatible with the movement.<ref>{{Cite book|last=Aslet|first=Clive|url=https://books.google.com/books?id=I-Pa9IIfP3QC&q=Ewenny+Pottery+Arts+and+Crafts+Elliot&pg=PA477|title=Villages of Britain: The Five Hundred Villages that Made the Countryside|date=4 October 2010|publisher=A&C Black|isbn=978-0-7475-8872-6|pages=477|language=en}}</ref> The pieces he brought back to London for the next twenty years revivified interest in Welsh pottery work.

A key promoter of the Arts and Crafts movement in Wales was [[Owen Morgan Edwards]]. Edwards was a reforming politician dedicated to renewing Welsh pride by exposing its people to their own language and history. For Edwards, "There is nothing that Wales requires more than an education in the arts and crafts."<ref>{{Cite book|last1=Davies|first1=Hazel|url=https://books.google.com/books?id=RhMhAAAAMAAJ&q=O.M.+Edwards+Arts+and+Crafts|title=O. M. Edwards|last2=Council|first2=Welsh Arts|date=1 January 1988|publisher=University of Wales Press on behalf of Welsh Arts Council|pages=28|isbn=978-0-7083-0997-1|language=en}} Sec. 3</ref> – though Edwards was more inclined to resurrecting Welsh Nationalism than admiring glazes or rustic integrity.<ref>{{Cite book|last1=Rothkirch|first1=Alyce von|url=https://books.google.com/books?id=xZViAAAAMAAJ&q=Welsh+Arts+and+Crafts|title=Beyond the Difference: Welsh Literature in Comparative Contexts : Essays for M. Wynn Thomas at Sixty|last2=Williams|first2=Daniel|date=2004|publisher=University of Wales Press|isbn=978-0-7083-1886-7|pages=10|language=en}}</ref>

In architecture, [[Clough Williams-Ellis]] sought to renew interest in ancient building, reviving "rammed earth" or [[Rammed earth|pisé]]<ref>{{cite web | url=http://www.arct.cam.ac.uk/Downloads/chs/final-chs-vol.19/chs-vol.19-pp.107-to-126.pdf |archive-url=https://web.archive.org/web/20151222130124/http://www.arct.cam.ac.uk/Downloads/chs/final-chs-vol.19/chs-vol.19-pp.107-to-126.pdf |archive-date=22 December 2015 |url-status=live | title=CHS Vol | date=2 May 2012 }}</ref> construction in Britain.

==== Ireland ====
The movement spread to Ireland, representing an important time for the nation's cultural development, a visual counterpart to the literary revival of the same time<ref>Nicola Gordon Bowe, ''The Irish Arts and Crafts Movement (1886–1925)'', Irish Arts Review Yearbook, 1990–91, pp. 172–185</ref> 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 (city)|Cork city]] in the grounds of [[University College Cork]].{{sfn|Teehan|Heckett|2005|p=163}} 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.

===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 unification in 1871 under the encouragement of the ''Bund für Heimatschutz'' (1897)<ref>Ákos Moravánszky, ''Competing visions: aesthetic invention and social imagination in Central European Architecture 1867–1918'', Massachusetts Institute of Technology, 1998</ref> and the ''Vereinigte Werkstätten für Kunst im Handwerk'' founded in 1898 by Karl Schmidt; and in Hungary [[Károly Kós]] revived the vernacular style of [[Transylvania]]n 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.<ref>{{cite book|first=Andrej|last= Szczerski|chapter=Central Europe|editor1-first= Karen|editor1-last= Livingstone |editor2-first= Linda|editor2-last= Parry |title=International Arts and Crafts|location= London|publisher= V&A Publications|date= 2005|isbn = 978-1-85177-446-3}}</ref>

[[File:Till en liten vira.jpg|thumb|The Swedish artists [[Carl Larsson]] and [[Karin Bergöö Larsson]] were inspired by the Arts and Crafts movement when designing their home.]]
Widely exhibited in Europe, the Arts and Crafts style's 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.<ref name="pevsner" >Nikolaus Pevsner, ''Pioneers of Modern Design'', Yale University Press, 2005, {{ISBN|0-300-10571-1}}</ref>

The earliest Arts and Crafts activity in continental Europe was in [[Belgium]] in about 1890, where the English style inspired artists and architects including [[Henry Van de Velde]], [[Gabriel Van Dievoet]], [[Gustave Serrurier-Bovy]], and a group known as ''[[La Libre Esthétique]]'' (Free Aesthetic).

Arts and Crafts products were admired in Austria and Germany in the early 20th century, and under their inspiration design moved rapidly forward while it stagnated in Britain.{{sfn|Naylor|1971|p=183}} The [[Wiener Werkstätte]], founded in 1903 by [[Josef Hoffmann]] and [[Koloman Moser]], was influenced 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 conflicting 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."{{Sfn|Naylor|1971|p=189}}

In Finland, an idealistic artists' colony in [[Helsinki]] was designed by [[Herman Gesellius]], [[Armas Lindgren]], and [[Eliel Saarinen]],<ref name="grove"/> who worked in the [[National Romantic style]], akin to the British [[Gothic Revival]].

In [[Hungary]], under the influence of Ruskin and Morris, a group of artists and architects, including [[Károly Kós]], [[Aladár Körösfői-Kriesch]], and Ede Toroczkai Wigand, discovered the [[folk art]] and vernacular architecture of [[Transylvania]]. Many of Kós's buildings, including those in the [[Budapest Zoo & Botanical Garden|Budapest zoo]] and the [[Wekerle estate]] in the same city, show this influence.<ref>Széleky András, ''Kós Károly'', Budapest, 1979</ref>

In Russia, [[Viktor Hartmann]], [[Viktor Vasnetsov]], [[Yelena Polenova]], and other artists associated with [[Abramtsevo Colony]] sought to revive the quality of medieval Russian [[decorative arts]] quite independently from the movement in Great Britain.

In Iceland, [[Sölvi Helgason]]'s work shows Arts and Crafts influence.

===North America===
[[File:Castle in the Clouds.jpg|thumb|Facade of the [[Castle in the Clouds]] and lawn overlooking [[Lake Winnipesaukee]] in [[New Hampshire]], built 1913–1914]]
[[File:Warren Wilson Beach House (The Venice Beach House), Venice, California.JPG|thumb|Warren Wilson Beach House (The Venice Beach House), Venice, California]]
[[File:Gamble House 2016-1.jpg|thumb|Gamble House, Pasadena, California]]
[[File:Arts and Crafts - Tudor home.jpg|thumb|Arts and Crafts Tudor home in the Buena Park Historic District, Uptown, Chicago]]
[[File:7 Boomerang St Haberfield 044-M.jpg|thumb|Example of Arts and Crafts style influence on [[Federation architecture]], showing a faceted bay window and a stone base]]
[[File:43 Birckhead Place, exterior views, 2019 - DPLA - 172dd5f090a496af8d43e220dde9d7a3 (page 5).jpg|thumb|Arts and Crafts home in the Birckhead Place neighborhood of Toledo, Ohio]]

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

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 US, 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]], [[Pewabic Pottery]], [[Rookwood Pottery]], and [[Tiffany Studios]]. In Canada, the term ''Arts and Crafts'' predominates, but ''Craftsman'' is also recognized.<ref name = "Obniski">{{cite web|url=http://www.metmuseum.org/toah/hd/acam/hd_acam.htm |first= Monica|last= Obniski|title=The Arts and Crafts Movement in America |publisher=Metropolitan Museum of Art |date=June 2008 |access-date=}}</ref>

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 refined 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 first American [[settlement house]]s for social reform.<ref name="Obniski"/>

Arts and Crafts ideals disseminated in America through journal and newspaper writing were supplemented by societies that sponsored lectures.<ref name="Obniski"/> The first was organized in Boston in the late 1890s, when a group of influential 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 first meeting was held on 4 January 1897, at the [[Museum of Fine Arts, Boston|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, [[Alexander Wadsworth Longfellow Jr.|A.W. Longfellow Jr.]]; and Ralph Clipson Sturgis, architect.

The first American Arts and Crafts Exhibition began on 5 April 1897, at [[Copley Hall, Boston]] featuring more than 1000 objects made by 160 craftsmen, half of whom were women.<ref>{{Cite web|title=The Arts & Crafts Movement – Concepts & Styles|url=https://www.theartstory.org/movement/arts-and-crafts/|access-date=25 December 2020|website=The Art Story}}</ref> Some of the advocates of the exhibit were Langford Warren, founder of Harvard's 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 28 June 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 SAC's first president, [[Charles Eliot Norton]], which read:

<blockquote>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 fitness in the decoration put upon it.<ref>Brandt, Beverly Kay. ''The Craftsman and the Critic: Defining Usefulness and Beauty in the Arts and Crafts-era Boston.'' University of Massachusetts Press, 2009. p. 113.</ref></blockquote>

Built in 1913–14 by the Boston architect [[J. Williams Beal]] in the [[Ossipee Mountains]] of [[New Hampshire]], [[Thomas Gustave Plant|Tom and Olive Plant's]] mountaintop estate, [[Castle in the Clouds]] also known as ''Lucknow'', is an excellent example of the American Craftsman style in New England.<ref>Cahn, Lauren. (13 March 2019) [https://www.msn.com/en-us/lifestyle/home-and-garden/the-most-famous-house-in-every-state/ss-BBUI50i#image=29 "The Most Famous House in Every State. Image #29: ''Castle in the Clouds''"] [[MSN.com]] website. Retrieved 29 April 2019.</ref>

Also influential were the [[Roycroft]] community initiated by [[Elbert Hubbard]] in [[Buffalo, New York|Buffalo]] and [[East Aurora, New York]], [[Joseph Marbella]],  utopian communities like [[Byrdcliffe 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 pottery]] – exemplified by the [[Grueby Faience Company]], [[Newcomb Pottery]] in [[New Orleans]], [[Marblehead Pottery]], [[Teco pottery]], [[Overbeck Sisters|Overbeck]] and [[Rookwood pottery]] and [[Mary Chase Perry Stratton]]'s [[Pewabic Pottery]] in [[Detroit, Michigan|Detroit]], the [[Van Briggle Pottery]] company in [[Colorado Springs, Colorado]],  as well as the art [[tile]]s made by [[Ernest A. Batchelder]] in [[Pasadena, California]], and idiosyncratic furniture of [[Charles Rohlfs]] all demonstrate the influence of Arts and Crafts.

==== 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, California|Berkeley]] and [[Pasadena, California|Pasadena]], and the sections of other towns originally developed during the era and not experiencing post-war urban renewal. [[Mission Revival Style architecture|Mission Revival]], Prairie School, and the '[[California bungalow]]' styles of residential building remain popular in the United States today.

As theoreticians, educators, and prolific artists in mediums from printmaking to pottery and pastel, two of the most influential figures were [[Arthur Wesley Dow]] (1857–1922) 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.<ref name="green">{{cite book|last1=Green|first1=Nancy E. and Jessie Poesch| title=Arthur Wesley Dow and American arts & crafts| date=1999|publisher=Harry N. Abrams, Inc.| location=New York, NY|isbn=0-8109-4217-8|pages=55–126}}</ref>

His purpose was to create objects that were finely 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 Dow's ideas in over 150 monographs and articles for art schools in the United States and Britain.<ref name="edwardsrw">{{cite book|last1=Edwards|first1=Robert W.| title=Pedro de Lemos, Lasting Impressions: Works on Paper| date=2015|publisher=Davis Publications Inc.| location=Worcester, Mass.|isbn=978-1-61528-405-4|pages=4–111}}</ref>{{Page needed|date=March 2025|reason=Page numbers are cited, but covering a range of 107 pages}} 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 pre-Columbian civilizations.

==== Museums ====
The [[Museum of the American Arts and Crafts Movement]] in [[St. Petersburg, Florida]], opened its doors in 2021.<ref name=Construction>{{cite news|title=Construction Begins on $40 Million Museum of the American Arts & Crafts in Florida|url=http://www.artfixdaily.com/news_feed/2015/02/18/4653-construction-begins-on-40-million-museum-of-the-american-arts-and|access-date=3 March 2015|publisher=ARTFIX Daily|date=18 February 2015|archive-date=2 April 2015|archive-url=https://web.archive.org/web/20150402180103/http://www.artfixdaily.com/news_feed/2015/02/18/4653-construction-begins-on-40-million-museum-of-the-american-arts-and|url-status=dead}}</ref><ref name=Nichols>{{cite news|last1=Nichols |first1=Steve |title=New, bigger, art museum coming to St. Pete |url=http://www.myfoxtampabay.com/story/28143878/new-bigger-art-museum-coming-to-st-pete |access-date=3 March 2015 |publisher=FOX 13 Pinellas Bureau Reporter |date=18 February 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150221102147/http://www.myfoxtampabay.com/story/28143878/new-bigger-art-museum-coming-to-st-pete |archive-date=21 February 2015 }}</ref>

===Asia===
In Japan, [[Yanagi Sōetsu]], creator of the [[Mingei]] movement which promoted folk art from the 1920s onwards, was influenced by the writings of Morris and Ruskin.<ref name=mingei>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</ref> Like the Arts and Crafts movement in Europe, Mingei sought to preserve traditional crafts in the face of modernising industry.