Relevant bibliographies by topics / Arts and crafts movement / Journal articles
To see the other types of publications on this topic, follow the link: Arts and crafts movement.

Journal articles on the topic 'Arts and crafts movement'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Arts and crafts movement.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Whyte, W. "The Arts and Crafts Movement." English Historical Review CXXIII, no. 501 (April 1, 2008): 486–88. http://dx.doi.org/10.1093/ehr/cen025.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Filippov, Vasily D. "Arts & crafts in architecture." Urban construction and architecture 11, no. 4 (December 15, 2021): 113–24. http://dx.doi.org/10.17673/vestnik.2021.04.14.

Full text
Abstract:
In the middle of the 19th century, the Arts and Crafts movement emerged in England. The development of the movement in England, USA, Germany is described. The influence of the ideas of the novel News from Nowhere by William Morris on the emergence of the idea of a garden city by Ebenezer Howard and on the preservation of the historical heritage of cities is shown. Describes the influence of Peter White on the emergence of Arts and Crafts in the United States, on the formation of the Chicago School, as well as the worlds first manifestation of modern in the architecture of Louis Sullivan. Shows the influence of Gustav Stickley on the birth of the American folk style of a residential building and his contribution to the modernism of Irving John Gill. The features of the Arts and Crafts in Germany are described, the role of Hermann Mutesius in the evolution of the movement from rejection of industrial production to unification with it and the establishment of the German Werkbund is emphasized. The influence of Mutesius ideas on the German art of the 1920s is shown. A description of the aesthetic direction of the movement, which received the name modern, is given and examples of it in Belgium, Germany, Austria, Scotland are given. The importance of movement as the basis for the birth of modern architecture is emphasized.
APA, Harvard, Vancouver, ISO, and other styles
3

Brett, David, and Paul Larmour. "The Arts and Crafts Movement in Ireland." Circa, no. 63 (1993): 61. http://dx.doi.org/10.2307/25557763.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Crawford, Alan. "Inspiring Reform: Boston's Arts and Crafts Movement. Exhibition.Inspiring Reform: Boston's Arts and Crafts Movement. [Catalogue]. Marilee Boyd Meyer." Archives of American Art Journal 37, no. 3/4 (January 1997): 28–31. http://dx.doi.org/10.1086/aaa.37.3_4.1557878.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Amos, Johanna. "Meaning and ‘Material Reality’: Jane Morris’ Keepsake Books." Journal of Design History 33, no. 2 (November 26, 2019): 107–22. http://dx.doi.org/10.1093/jdh/epz052.

Full text
Abstract:
Abstract Though long overshadowed by her socialist–designer husband, Jane Burden Morris, wife of arts and crafts pioneer William Morris, has begun to receive recognition for her contributions to the alternative art movements of the nineteenth century, including her work as a Pre-Raphaelite model and arts and crafts embroiderer. This article furthers this exploration by examining Jane Morris’ engagement with the book arts. Through an analysis of the textual, visual and material qualities of four keepsake volumes Morris made c.1880, this article considers how the books illuminate Morris’ material reality and emphasize their maker’s commitment to socialist ideals, artistic labour, and collaborative working. It further situates Morris’ keepsake volumes within the nineteenth-century reinvigoration of the book arts and the arts and crafts movement in order to consider the ways in which arts and crafts ideals penetrated amateur domestic production.
APA, Harvard, Vancouver, ISO, and other styles
6

Stankiewicz, Mary Ann. "From the Aesthetic Movement to the Arts and Crafts Movement." Studies in Art Education 33, no. 3 (1992): 165. http://dx.doi.org/10.2307/1320898.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Freeman, Meghan. "NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH." Journal of the Gilded Age and Progressive Era 17, no. 1 (January 2018): 121–44. http://dx.doi.org/10.1017/s1537781417000573.

Full text
Abstract:
In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.
APA, Harvard, Vancouver, ISO, and other styles
8

Anscombe, Isabelle. "An Outpost of the Arts and Crafts Movement." Journal of Decorative and Propaganda Arts 8 (1988): 80. http://dx.doi.org/10.2307/1503971.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Bowe, N. G. "The Arts and Crafts Movement in Central Europe." Journal of Design History 18, no. 4 (January 1, 2005): 399–401. http://dx.doi.org/10.1093/jdh/epi061.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Danahay, Martin. "The Arts and Crafts Movement, Steampunk, and Community." Victorian Review 41, no. 1 (2016): 40–46. http://dx.doi.org/10.1353/vcr.2016.0008.

Full text
APA, Harvard, Vancouver, ISO, and other styles
11

Greensted, Mary. "Re-working the crafts: Ernest Gimson and the Arts and Crafts Movement." Landscape History 30, no. 1 (January 2008): 49–58. http://dx.doi.org/10.1080/01433768.2008.10594599.

Full text
APA, Harvard, Vancouver, ISO, and other styles
12

Vale, Brenda, and Yvonne Shaw. ""First find your peasant ..."." Architectural History Aotearoa 16 (December 5, 2019): 72–86. http://dx.doi.org/10.26686/aha.v16.8932.

Full text
Abstract:
Within the context of Edwardian architecture, this paper concerns the interior of dwellings in the 1900s and in particular the furnishings and objects inspired by the Arts and Crafts movement that people might have chosen to have in their homes. The Arts and Crafts section of the 1906 International Exhibition in Christchurch included work by the Haslemere Peasant Arts Society and Haslemere Peasant Industries from England. This paper explores how this movement began, and speculates why its works were part of an exhibition that included works by well-known Arts and Crafts protagonists, such as Morris, Ashbee and Voysey. It looks at the figures involved in the Haslemere ventures, including Godfrey Blount, and the response in the New Zealand press to his ideas that at least 90% of workers should want less rather than more wages, and as a result be involved in working on the land (Blount "Religion and Riches" pp 91-93). The paper also speculates about the life of the peasant and the romanticised view taken of peasants by proponents of the Arts and Crafts movement. It also discusses whether the Arts and Crafts would have flourished, both in New Zealand and Britain, without societies with a middle-class wealthy enough to adorn their homes with its artefacts, or indeed wealthy enough to bankroll it.
APA, Harvard, Vancouver, ISO, and other styles
13

Oliver, Stephen. "Basil Oliver and the End of the Arts and Crafts Movement." Architectural History 47 (2004): 329–60. http://dx.doi.org/10.1017/s0066622x00001799.

Full text
Abstract:
Little attention has yet been paid to the work of the East Anglian Arts and Crafts architect Basil Oliver (1882–1948) who is best known, if at all, for his book The Renaissance of the English Public House, published in 1947. Indeed he practised in the period, after the Great War, when the Arts and Crafts Movement is generally considered to have been a spent force, and so his obscurity comes as no surprise. We do not look to Oliver for insight into the fashionable styles of architecture such as emerging Modernism or even ‘art deco’. However, he is representative of a number of architects from this era who could be dismissed as traditionalists but who attempted to continue the ideals of the Arts and Crafts Movement in difficult times.
APA, Harvard, Vancouver, ISO, and other styles
14

Székely, Miklós. "Vocational Schools and Arts & Crafts Influences in Transylvania from the Great Exhibition to Bauhaus." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 67–94. http://dx.doi.org/10.24193/subbhistart.2020.04.

Full text
Abstract:
"The paper discusses the approximately 100-year presence and transformation of the approach and mentality of arts and craft movements which emerged in the mid-19th century from the aspect of industrial education workshops in Transylvania. In late 19th-century Hungary, the approach of artistic innovation, spread with the help of William Morris’s and Walter Crane’s works, is perhaps most immediately seen in the creative workshops that approached the relationship between aesthetics and technology rather differently. It appeared in the works of the British Arts & Crafts movement and also in the curriculum of late 19th-century Hungarian vocational schools and institutions of vocational education, as well as in the methodology of art reform movements that sprung up after World War I, the most familiar example of which was the Bauhaus. The guidelines for workshop-based education and training, the implementation of technical innovations and new artistic trends into the education, an emphasis on the students’ individual skills, facilitating the individual’s creativity and imagination, the primary role of architecture, the adaptation of basic building principles of modern homes, strong personal relationship and cooperation between teachers and students were the bases of the educational reform that started in the 1840s and continued for a century. The curriculum of industrial vocational schools in Hungary included the development of drawing, modelling and form-creation skills, with the help of which many of those who graduated from these institutions, made a great impact on avantgarde and modernism between the two world wars. Keywords: vocational education, industrial education, applied arts, design, Arts and Crafts movement, Bauhaus "
APA, Harvard, Vancouver, ISO, and other styles
15

Brockwell, Sandra. "Textiles of the Arts and Crafts Movement, Linda Parry." TEXTILE 4, no. 2 (July 2006): 224–25. http://dx.doi.org/10.2752/147597506778052322.

Full text
APA, Harvard, Vancouver, ISO, and other styles
16

Wolf, Toni Lesser. "Women Jewelers of the British Arts and Crafts Movement." Journal of Decorative and Propaganda Arts 14 (1989): 28. http://dx.doi.org/10.2307/1504026.

Full text
APA, Harvard, Vancouver, ISO, and other styles
17

Hewitt, Mark Alan. "Gustav Stickley and the American Arts and Crafts Movement." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 19, no. 1 (March 2012): 157–68. http://dx.doi.org/10.1086/665694.

Full text
APA, Harvard, Vancouver, ISO, and other styles
18

Ellis, Elaine Hirschl. "The Arts and Crafts Movement. Elizabeth Cumming , Wendy Kaplan." Winterthur Portfolio 26, no. 4 (December 1991): 294–96. http://dx.doi.org/10.1086/496557.

Full text
APA, Harvard, Vancouver, ISO, and other styles
19

Fish, Marilyn, Edward S. Cooke, Beverly K. Brandt, Susan J. Montgomery, Jeannine Falino, Marilee Boyd Meyer, Nicola J. Shilliam, et al. "Assessing Recent Interpretations of the Arts and Crafts Movement." Art Journal 56, no. 3 (1997): 90. http://dx.doi.org/10.2307/777844.

Full text
APA, Harvard, Vancouver, ISO, and other styles
20

Ore, Janet. "The Arts and Crafts Movement in the Pacific Northwest." Western Historical Quarterly 40, no. 1 (February 2009): 94–95. http://dx.doi.org/10.1093/whq/40.1.94.

Full text
APA, Harvard, Vancouver, ISO, and other styles
21

Andayani, Monika Handayani, Ade Mardiana, and Purwanti Pahrurodji. "PENERAPAN TEKNIK ECOPRINTING DALAM GERAKAN SEKOLAH BERSIH MENYENANGKAN UNTUK MENGUATKAN PENDIDIKAN KARAKTER DI SEKOLAH DASAR." Jurnal Pendidikan Dasar 12, no. 02 (April 12, 2022): 160–72. http://dx.doi.org/10.21009/jpd.v12i02.26323.

Full text
Abstract:
This service is motivated by the existence of the Fun Clean School Movement (GSBM) which is integrated to shape the character of children to become religious, independent, and intelligent individuals like the motto of the City of South Tangerang. Meaningful education does not only think about scientific thinking, but needs to be integrated with characters that include various aspects of supporting the skills of elementary school-aged children. This service aims to provide an understanding of the concept of learning arts, culture and crafts in elementary schools whose development target is elementary school age. Combining the theory of development of elementary school-aged children, it was found that the learning content in the subjects of arts, culture and crafts can develop character in children through the scope of ecoprinting material. The stages of implementing this community service activity include: 1) Planning, 2) Implementation (training, mentoring and practice), 3) Evaluation. This service resulted in learning designs for Cultural Arts and Crafts, especially ecoprinting techniques in various media to support the Fun Clean School Movement (GSBM) program in strengthening KDP and the effectiveness of integrating arts and crafts learning in various media in supporting the Fun Clean School Movement (GSBM) as one of the ways to support character education.
APA, Harvard, Vancouver, ISO, and other styles
22

Kimmel, Michael S., Eileen Boris, Alan Crawford, Mary Ann Smith, and Peter Stansky. "The Arts and Crafts Movement: Handmade Socialism or Elite Consumerism?" Contemporary Sociology 16, no. 3 (May 1987): 388. http://dx.doi.org/10.2307/2070331.

Full text
APA, Harvard, Vancouver, ISO, and other styles
23

Crawford, Alan. "Ideas and Objects: The Arts and Crafts Movement in Britain." Design Issues 13, no. 1 (1997): 15. http://dx.doi.org/10.2307/1511584.

Full text
APA, Harvard, Vancouver, ISO, and other styles
24

Owen, Nancy. "Inspiring Reform: Boston's Arts and Crafts Movement. Marilee Boyd Meyer." Studies in the Decorative Arts 6, no. 2 (April 1999): 111–15. http://dx.doi.org/10.1086/studdecoarts.6.2.40662684.

Full text
APA, Harvard, Vancouver, ISO, and other styles
25

Blaszczyk, Regina Lee. "Inspiring Reform: Boston's Arts and Crafts Movement. Marilee Boyd Meyer." Winterthur Portfolio 34, no. 4 (December 1999): 263–65. http://dx.doi.org/10.1086/496794.

Full text
APA, Harvard, Vancouver, ISO, and other styles
26

KIRKHAM, P. "Treasures of the American Arts and Crafts Movement 1890 1920." Journal of Design History 2, no. 2-3 (January 1, 1989): 237–38. http://dx.doi.org/10.1093/jdh/2.2-3.237.

Full text
APA, Harvard, Vancouver, ISO, and other styles
27

Goodfellow, Liz, and Judith B. Tankard. "Gardens of the Arts and Crafts Movement: Reality and Imagination." Garden History 32, no. 1 (2004): 141. http://dx.doi.org/10.2307/1587319.

Full text
APA, Harvard, Vancouver, ISO, and other styles
28

Vale, Brenda, and Robert Vale. "Lott's Bricks, The Arts and Crafts movement and Arnold Mitchell." Architectural Research Quarterly 15, no. 2 (June 2011): 119–30. http://dx.doi.org/10.1017/s1359135511000546.

Full text
Abstract:
Perhaps unexpectedly, architects are seldom talked about in terms of the building toys they once played with or what they constructed with them. Exceptions are Witold Rybczynski and Frank Lloyd Wright. The former describes John Ruskin mastering the laws of building for load-bearing towers and arches by the time he was seven or eight (around 1825) because of playing with wooden building blocks (introduced at the end of the 1700s). However, he also describes himself playing with Bayko. This was a Bakelite building set from the 1930s [1], probably modelled on Mobaco, a cardboard and wood Dutch construction toy [2]. Both of these toys are pre-dated by an 1887 English toy for house construction, the walls of which were made from wooden blocks threaded on to vertical wires. Rybczynski also describes watching his father and uncle build a real garden shed using concrete panels slipped between reinforcing bars, like the method used by the plastic toy but life-size.
APA, Harvard, Vancouver, ISO, and other styles
29

Oser, Jesco. "“Rodnik”: A Source of Inspiration." Experiment 18, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/221173012x643053.

Full text
Abstract:
Abstract The article discusses the history of Princess Mariia Tenishevaʼs workshops at Talashkino which, in the early 1900s, played a significant role in Russia’s Arts and Crafts movement. Recently discovered photographs of the interior of “Rodnik,” the store in Moscow that marketed Talashkino wares from 1903 to 1906, were the occasion to shed more light on Tenisheva’s attempt to revive popular craft traditions by creating artist-designed and hand manufactured goods for daily use.
APA, Harvard, Vancouver, ISO, and other styles
30

Akhmylovskaya, Larisa Alekseevna. "Cross-cultural interpretations of Yanagi Soetsu’s philosophy." Manuscript 16, no. 4 (October 27, 2023): 264–70. http://dx.doi.org/10.30853/mns20230053.

Full text
Abstract:
The aim of the research is to shed light on cross-cultural interpretations of mingei, a philosophy developed in the 1920s by the Japanese collector and art historian Yanagi Soetsu. This concept recognises aesthetic value in utilitarian objects and their unique harmony. The mingei movement emphasises anonymous, handmade production of functional objects in large quantities. The study comments on fragments from the exhibition catalog “MINGEI: The Beauty of Everyday Things” and provides examples of incorporating mingei objects into the cross-cultural process. The scientific novelty of the research lies in identifying conflicting viewpoints among researchers of the mingei movement regarding the relationship between mingei undo (the folk crafts movement) and the British Arts and Crafts movement. As a result, the research materials allowed the author to examine Yanagi Soetsu’s activities in the context of the cross-cultural interaction and the mutual influence of Japanese and European folk-art movements in the late 19th and the early 20th centuries.
APA, Harvard, Vancouver, ISO, and other styles
31

Krugh, Michele. "Joy in Labour: The Politicization of Craft from the Arts and Crafts Movement to Etsy." Canadian Review of American Studies 44, no. 2 (January 2014): 281–301. http://dx.doi.org/10.3138/cras.2014.s06.

Full text
APA, Harvard, Vancouver, ISO, and other styles
32

Reeder, Linda C. "Architect Mary E. J. Colter and the Arts and Crafts Movement." Journal of the Southwest 61, no. 3 (2019): 613–39. http://dx.doi.org/10.1353/jsw.2019.0042.

Full text
APA, Harvard, Vancouver, ISO, and other styles
33

Peatross, Frieda D. "Interpreting the Arts and Crafts Movement in America through Content Analysis." Journal of Interior Design 15, no. 2 (September 1989): 5–14. http://dx.doi.org/10.1111/j.1939-1668.1989.tb00138.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
34

Craig, Robert L. "Through Printers' Eyes: From the Arts and Crafts Movement to Modernism." Visual Communication Quarterly 15, no. 1-2 (April 2008): 31–43. http://dx.doi.org/10.1080/15551390801914561.

Full text
APA, Harvard, Vancouver, ISO, and other styles
35

Cumming, Elizabeth. "The Arts and Crafts Movement in Scotland: A History Annette Carruthers." Journal of Modern Craft 7, no. 3 (November 2014): 335–39. http://dx.doi.org/10.2752/174967714x14111311183126.

Full text
APA, Harvard, Vancouver, ISO, and other styles
36

Clancy, Jonathan. "Elbert Hubbard, Transcendentalism and the Arts and Crafts Movement in America." Journal of Modern Craft 2, no. 2 (July 2009): 143–60. http://dx.doi.org/10.2752/174967809x463088.

Full text
APA, Harvard, Vancouver, ISO, and other styles
37

Vanderploeg, Jennifer, and Seung-Eun (Joy) Lee. "Factors Influencing Pro-Environmental Behaviors in Craft Businesses." Clothing and Textiles Research Journal 37, no. 1 (September 24, 2018): 51–65. http://dx.doi.org/10.1177/0887302x18800394.

Full text
Abstract:
Since the Arts and Crafts Movement in the early twentieth century, discourse on craft has revolved around conflicts over industrialization. The current craft movement builds on these same responses to the industrialized world while also addressing environmental issues and sustainability. However, authors of craft literature rarely address the pro-environmental business practices of craft artisans or the motivational drivers of such behaviors. In this study, we aim to rectify this imbalance by contributing to an expanded understanding of value and belief drivers of pro-environmental behaviors. The value–belief–norm theory of environmentalism is used to outline the causal influences of pro-environmental behaviors in craft businesses, and our findings support the use of the model. Craft business owners’ pro-environmental behaviors are a result of a causal relationship from values to beliefs, through feelings of obligation to act in pro-environmental ways.
APA, Harvard, Vancouver, ISO, and other styles
38

Balmori, Diana. "Cranbrook: The Invisible Landscape." Journal of the Society of Architectural Historians 53, no. 1 (March 1, 1994): 30–60. http://dx.doi.org/10.2307/990808.

Full text
Abstract:
As a study of the landscape of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, this essay has three objectives: to make visible a previously unacknowledged landscape, to define its relationship to the image of Cranbrook as a whole, and to begin an exploration of the ways in which a landscape draws us into a bond of affection with it. This study is the first to identify landscape designers at Cranbrook and to explore the importance of their design to the institution that was the most successful and long-lived of Arts and Crafts manifestations in America. It thus gives particular attention to the landscape ideas of the Arts and Crafts movement, as this was the last major aesthetic movement to value the art of landscape. Influenced by the principles of this movement, publisher George C. Booth founded Cranbrook in 1925, envisioning a combination school, studio, and art colony, where artists together could develop an integrated design practice. Under the influence of Arts and Crafts, landscape had a very early, critical role at Cranbrook and was part of the vision for the institution. But the later history of Cranbrook shows the decline of landscape as an art, a loss of scope and vision, especially as the Arts and Crafts aesthetic waned and that of the modern movement emerged. The study gives attention to this decline; the observation of how this happened at Cranbrook provides some clues as to the overall diminution of landscape in the twentieth century, a decline heretofore noted, but not explained. The essay begins with the recollection of a personal experience that is critical to the author's interest in the Cranbrook site and to an understanding of the exploration of our connections to landscape. Visits to the site and the use of the resources of the Cranbrook Archives (the papers of George Booth, designs, plans, photographs, and writings by the Cranbrook landscape practitioners) have made it possible to give visibility to the Cranbrook landscape and to allow an assessment of the landscape's relationship to the larger institution.
APA, Harvard, Vancouver, ISO, and other styles
39

Rahadi, Panji Firman. "Perbandingan antara Arts & Crafts Movement dan Democratic Design dalam Menghadapi Laju Perubahan Revolusi Industri." Visualita Jurnal Online Desain Komunikasi Visual 9, no. 1 (October 24, 2020): 157–68. http://dx.doi.org/10.34010/visualita.v9i1.3921.

Full text
Abstract:
Revolusi industri yang terjadi di Eropa hingga abad ke-20 dianggap sebagai pencapaian manusia yang merubah peradaban dunia. Laju perubahan yang dibawa oleh Revolusi Industri mulai dari gelombang pertama (1.0) hingga ke empat (4.0) memunculkan beragam respon dari berbagai sektor, termasuk dari dunia seni dan desain. Arts & Crafts Movement dan Democratic Design adalah contoh bentuk-bentuk respon tersebut. Hubungan antara Arts and Crafts Movement dan Democratic Design dalam sejarah sangatlah jauh, rentang masa diantara keduanya - kurang lebih dua abad. Keduanya merupakan gerakan yang dilandasi pada suatu pemikiran baru dan merupakan gerakan perubahan yang mempengaruhi perubahan di masa depan. Kajian ini dilakukan untuk menemukan kesamaan-kesamaan dari kedua gerakan tersebut, untuk melihat pemikiran-pemikiran pada kedua gerakan tersebut dan dampaknya pada perkembangan desain di Dunia hingga abad ini. Kajian dilakukan berdasarkan studi literatur.
APA, Harvard, Vancouver, ISO, and other styles
40

Tressol, Nathanaëlle. "The Reception of Russian Arts and Crafts in French Art Journals." Experiment 25, no. 1 (September 30, 2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.

Full text
Abstract:
Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.
APA, Harvard, Vancouver, ISO, and other styles
41

Thomas, Zoë. "Between Art and Commerce: Women, Business Ownership, and the Arts and Crafts Movement*." Past & Present 247, no. 1 (April 29, 2020): 151–96. http://dx.doi.org/10.1093/pastj/gtz071.

Full text
Abstract:
Abstract In art-historical works and social and cultural histories the Arts and Crafts movement is portrayed as an anti-commercial design reform movement that revolved around the workshops of a cadre of elite male ‘craftsmen’. But a confluence of elements during this era — developments in print culture; urbanization; mass consumerism; the women’s movement; reactions against industrialization; widespread interest in medievalism and domestic crafts — created an environment in which many more people became involved in the movement than is traditionally recognized. This research offers the first history of the emergence of women’s ‘artistic’ businesses across England, c.1870–1939. The article argues that the persistent focus on institutional hierarchies in histories of skilled work has led to a failure to consider the importance of rhetorical self-fashioning and the built environment in the construction of new cultural roles. Engrained disciplinary divides have also led to discrete bodies of scholarship on the history of artistic culture, ‘professional society’ and business ownership, which belie the interwoven nature of these categories in lived experience. Tracing the gendered strategies implemented by women business owners ultimately reveals their democratization of the movement to incorporate greater reception of domestic consumerism, ‘popular’ culture, and a wider range of incomes and interests.
APA, Harvard, Vancouver, ISO, and other styles
42

Crook, Tom. "Craft and the Dialogics of Modernity: The Arts and Crafts Movement in Late-Victorian and Edwardian England." Journal of Modern Craft 2, no. 1 (March 2009): 17–32. http://dx.doi.org/10.2752/174967809x416242.

Full text
APA, Harvard, Vancouver, ISO, and other styles
43

BOWE, N. G. "Irish Country Furniture 1700 1950 * The Arts and Crafts Movement in Ireland." Journal of Design History 7, no. 2 (January 1, 1994): 144–45. http://dx.doi.org/10.1093/jdh/7.2.144.

Full text
APA, Harvard, Vancouver, ISO, and other styles
44

Forster-Garbutt, Eva. "Drawn from Nature: Wallpaper patterns in New Zealand's Schools of Art and Design." Architectural History Aotearoa 20 (December 4, 2023): 46–57. http://dx.doi.org/10.26686/aha.v20.8712.

Full text
Abstract:
Schools of art and design were established in New Zealand from 1870 to foster the development of technical skills in the trades and the creative and decorative arts. These schools flourished throughout the latter two decades of the nineteenth century and the early decades of the twentieth century. Informed by the teachings of the South Kensington School in England, students in New Zealand were instructed in the design of patterns for interior finishes, such as wallpapers, tiles, linoleum and textiles. The blossoming Arts and Crafts movement not only guided the teaching models of these schools, but encouraged students to explore the graphic possibilities of flora and fauna, which in the New Zealand context resulted in original decorative patterns with native motifs. This paper will explore the design of wallpaper patterns by students at the New Zealand schools of art, focusing on those produced between the mid-1880s and the late 1890s. The influence and inspiration for these patterns will be traced, from the Arts and Crafts movement, the teaching methods at schools of art and design, to the natural New Zealand environment.
APA, Harvard, Vancouver, ISO, and other styles
45

Lee,Nam-Hee. "New Woman and New Profession: Women Garden Designers in Arts and Crafts Movement." EWHA SAHAK YEONGU ll, no. 53 (December 2016): 81–114. http://dx.doi.org/10.37091/ewhist.2016..53.003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
46

Crawford, Alan. "W. A. S. Benson, Machinery, and the Arts and Crafts Movement in Britain." Journal of Decorative and Propaganda Arts 24 (2002): 94. http://dx.doi.org/10.2307/1504184.

Full text
APA, Harvard, Vancouver, ISO, and other styles
47

Sissons, Crystal. "Professional Pursuits: Women and the American Arts and Crafts Movement (review)." Histoire sociale/Social history 42, no. 83 (2009): 263–65. http://dx.doi.org/10.1353/his.0.0075.

Full text
APA, Harvard, Vancouver, ISO, and other styles
48

EVANS, S. "The Arts and Crafts Movement * William Morris: Design and Enterprise in Victorian Britain." Journal of Design History 6, no. 1 (January 1, 1993): 57–62. http://dx.doi.org/10.1093/jdh/6.1.57.

Full text
APA, Harvard, Vancouver, ISO, and other styles
49

Brunton, Jennie. "Annie Garnett: the Arts and Crafts Movement and the Business of Textile Manufacture." Textile History 32, no. 2 (November 2001): 217–38. http://dx.doi.org/10.1179/004049601793710207.

Full text
APA, Harvard, Vancouver, ISO, and other styles
50

Hill, Marguerite. ""Lions and wyvens and dolphins, oh my!": Jessie Mitchell Elmslie's Arts and Crafts furniture." Architectural History Aotearoa 20 (December 4, 2023): 58–68. http://dx.doi.org/10.26686/aha.v20.8713.

Full text
Abstract:
Jessie Mitchell Elmslie was in her early twenties when she carved an intricate and highly decorative oak and kauri sideboard. The 2.5 metre high sideboard is dripping with Arts and Crafts iconography, including wyverns, lions and a Green Man with a flowing beard. Elmslie also incorporated copper tooling into her design, with beaten copper handles and repousse heraldic dolphins. Elmslie's father, Dr Rev John Elmslie, was the minister at St Paul's Presbyterian Church in Christchurch and one of his parishioners taught Elmslie to carve. She produced at least two large pieces of furniture during the 1890s: the sideboard now in the collection of Canterbury Museum and a walnut settle in the collection of Te Papa Tongarewa Museum of New Zealand.Woodcarving became popular with New Zealand women during the late nineteenth and early twentieth centuries. The Arts and Crafts movement, along with the establishment of art and design schools from the 1870s, meant that women were able to engage in practices formerly reserved for men. This paper will look at Elmslie and her work in the context of Arts and Crafts practice in New Zealand and consider the work of another talented carver, Evelyn Vaile.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Arts and crafts movement' for other source types:
Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography