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Journal articles on the topic 'Arts and crafts movement'

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Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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2

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

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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

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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.

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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 (1997): 28–31. http://dx.doi.org/10.1086/aaa.37.3_4.1557878.

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5

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

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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’ materia

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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.

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7

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

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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 spi

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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.

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9

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

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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.

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11

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

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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.

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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 M

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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.

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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 t

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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 (2020): 67–94. http://dx.doi.org/10.24193/subbhistart.2020.04.

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"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 th

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15

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

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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.

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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 (2012): 157–68. http://dx.doi.org/10.1086/665694.

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18

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

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19

Fish, Marilyn, Edward S. Cooke, Beverly K. Brandt, 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.

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20

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

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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 (2022): 160–72. http://dx.doi.org/10.21009/jpd.v12i02.26323.

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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 elem

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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 (1987): 388. http://dx.doi.org/10.2307/2070331.

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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.

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24

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

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25

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

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26

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

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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.

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28

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

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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 co

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29

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

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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.

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30

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

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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

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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 (2014): 281–301. http://dx.doi.org/10.3138/cras.2014.s06.

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32

Inam, Ameed. "Influence of Arts and Crafts on Indian Architecture Styles." Journal of Architecture and Civil Engineering 09, no. 12 (2024): 15–20. https://doi.org/10.35629/8193-09121520.

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The rich tapestry of Indian architecture is profoundly influenced by its diverse art and craft traditions, which have evolved over centuries. This paper explores the symbiotic relationship between arts and crafts and the architectural styles of India, examining their historical significance and contemporary relevance. It delves into traditional forms such as intricate stone carvings, frescoes, woodwork, and metal crafts that have shaped iconic structures, from ancient temples to Mughal palaces. The study further investigates how regional art movements, like the Pahari miniatures and Madhubani

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33

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

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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.

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34

Mitchell, Rebecca N. "Radical Victorians?" CUSP: Late Nineteenth and Early Twentieth Century Cultures 3, no. 1 (2025): 134–49. https://doi.org/10.1353/cusp.2025.a952403.

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35

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.

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36

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

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37

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

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38

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

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39

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

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40

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

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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 att

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41

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 (2020): 157–68. http://dx.doi.org/10.34010/visualita.v9i1.3921.

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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 dilandas

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42

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

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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 w

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43

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

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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 h

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44

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 (2009): 17–32. http://dx.doi.org/10.2752/174967809x416242.

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45

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

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46

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.

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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,

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47

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

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48

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.

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49

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.

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50

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

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