Relevant bibliographies by topics / British Arts and Crafts Movement

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Academic literature on the topic 'British Arts and Crafts Movement'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "British Arts and Crafts Movement"

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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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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.

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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 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 "
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Malone, Carolyn. "The Art of Remembrance: The Arts and Crafts Movement and the Commemoration of the British War Dead, 1916–1920." Contemporary British History 26, no. 1 (March 2012): 1–23. http://dx.doi.org/10.1080/13619462.2012.656384.

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Vyazova, Ekaterina. "English Influences, Russian Experiments." Experiment 25, no. 1 (September 30, 2019): 207–25. http://dx.doi.org/10.1163/2211730x-12341339.

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Abstract This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.
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Larmour, Paul. "Philip Bell: a champion of the Modern Movement in Northern Ireland." Architectural Research Quarterly 17, no. 1 (March 2013): 49–62. http://dx.doi.org/10.1017/s1359135513000353.

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Architecture in Northern Ireland in the twentieth century followed much the same pattern as elsewhere in the British Isles moving, broadly, from historic styles around the turn of the century, through a phase of Arts and Crafts activity for a decade or so, until settling down to a concentrated period of interest in Neo-Georgian styling in the 1920s and '30s. This inter-war era included, however, some examples of Modernism, primarily of an ornamented Art Deco type but occasionally of a more plain variety which ranged between Functionalism and the International Style. Examples of this type of modern architecture – characterised by flat roofs, white walls, large horizontal windows and a general avoidance of ornamentation – formed only a comparatively small part of the overall output of the period in Northern Ireland, and, for most architects who were involved, their contribution amounted to little more than a building or two; such was the prevailing tradition-bound architectural mood of the time.One architect in Northern Ireland, however, demonstrated a commitment to the Modern Movement that appears to have been greater than most. That was Philip Bell, whose name has been mentioned from time to time by various commentators, whether as a designer of Modernist houses or as the architect of one other particularly well-known building of the 1930s in Northern Ireland, the Strangford Lough Yacht Club House, which was an accomplished and stylish enough building to have been featured in the English architectural press at the time.
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Somers, Matthias, and Sami Sjöberg. "Reading Ray: Avant-Garde and Transnationalism in Interwar Britain." Modernist Cultures 16, no. 2 (May 2021): 216–41. http://dx.doi.org/10.3366/mod.2021.0329.

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The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.
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Tyler, Linda. ""The hours and times of your desire": Sholto Smith's romantic vision for Colwyn (1925)." Architectural History Aotearoa 8 (January 1, 2011): 58–65. http://dx.doi.org/10.26686/aha.v8i.7101.

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Early in 1920, French-born architect Sholto Smith (1881-1936) decided to abandon his Moose Jaw practice, and his Canadian wife and family, and emigrate to New Zealand. His decision seems to have been precipitated by a memorable encounter with a woman who would later become a celebrated pianist for the Auckland radio station 1YA, Phyllis Mary Hams (1895-1974). Sholto Smith had met Hams during World War I while he was on leave from the Canadian Expeditionary Force and visiting Colwyn Bay, North Wales. Sholto Smith's major contribution to Arts and Crafts Auckland, the house he designed as a gift for Phyllis Hams on the occasion of their marriage on 3 March 1925, was named Colwyn to memorialise their Welsh meeting place. Despite only living in New Zealand for his last 16 years, Sholto Smith left a legacy of over 100 buildings. Colwyn was a well-placed advertisement for his domestic architecture, and his Arts and Crafts and Tudor house designs were soon in great demand throughout the building boom of the 1920s. Smith had arrived in Auckland on 17 March 1920 and immediately joined the practice of Thomas Coulthard Mullions (1878-1957) and C Fleming McDonald. The latter had been the architect of the original Masonic Hotel in Napier (1897), and the firm originally specialised in hotels and commercial architecture using modern materials including reinforced concrete, but dressing the modernist structure with historicist references. Several of their inner-city Auckland buildings such as the Waitemata and Manukau Council building on the corner of Shortland and Princes Street, Chancery Chambers in O'Connell Street and the Lister building on the corner of Victoria and Lorne Streets, still survive. After McDonald's death, Sholto Smith became a partner in the firm and encouraged Thomas Mullions to move into residential property development in central Auckland: Shortland Flats (1922) was a commercial venture where the architects formed a company owning shares in the building which comprised 24 flats designed to generate rental income. But detached suburban domestic architecture was Sholto Smith's real passion. Before leaving Canada for fresh beginnings in New Zealand, he drew an architectural perspective for his ideal home. He titled this drawing Dreamwold, and his vision for this ideal house was to be realised in Auckland at 187 St Heliers Bay Road. For this house design, Sholto Smith drew inspiration from Canadian colleagues such as British Columbian architect Samuel Maclure (1860-1929) and from the British masters of the Arts and Crafts Movement including CFA Voysey (1857-1951) and MH Baillie Scott (1865-1945). Colwyn is reminiscent of the latter's Corrie Wood (1908) in Letchworth Garden City, Hertfordshire in its adventurous open planning. A little bit of Olde Englande recreated in the South Pacific for his homesick new wife, Colwyn was Sholto Smith's perfect Dreamwold, right down to the text on the wooden mantelpiece over the fireplace. The quote inscribed there is taken from the beginning of Shakespeare's sonnet 57, and seems addressed by Smith to his 30-year-old bride: "Being your slave, what should I do but tend upon the hours and times of your desire?" Epitomising the romantic archetype, Colwyn remains a fine example of the type of Arts and Crafts dwelling that well-to-do Aucklanders aspired to inhabit in the 1920s.
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Hardiman, Louise. "Invisible Women." Experiment 25, no. 1 (September 30, 2019): 295–309. http://dx.doi.org/10.1163/2211730x-12341344.

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Abstract Maria Vasilievna Iakunchikova designed three works of applied art and craft in a Neo-Russian style for the Russian section of the Paris “Exposition Universelle” of 1900—a wooden dresser, a toy village in carved wood, and a large embroidered panel. Yet, so far as the official record is concerned, Iakunchikova’s participation in the exhibition is occluded. Her name does not appear in the catalogue, for it was the producers, rather than the designers, who were credited for her works. Indeed, her presence might have been entirely unknown, were it not for several reports of the Russian display in the periodical press by her friend Netta Peacock, a British writer living in Paris. The invisibility of the designer in this instance was not a matter of gender, but it had consequences for women artists. In general, women were marginalized in the mainstream of the nineteenth-century Russian art world—whether at the Academy of Arts or in prominent groups such as the Peredvizhniki—and, as a result, enjoyed fewer opportunities at the Exposition. But the Neo-national movement, linked closely with the revival of applied art and the promotion of kustar industries, was one in which women’s art had space to flourish. And, in the so-called village russe at the Exposition, which featured a display of kustar art, by far the larger contribution was made by women, both as promoters and as artists. In this article, I examine Iakunchikova’s contribution to the Exposition within a broader context of female artistic activity, and the significance of the Russian kustar pavilion for a gendered history of nineteenth-century art.
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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.

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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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Dissertations / Theses on the topic "British Arts and Crafts Movement"

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Rosenthal, Ashley A. "The British Arts and Crafts movement manifested in an American case study of Gustav Stickley's Craftsman architecture." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1338880.

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This thesis describes how components of the British Arts and Crafts Movement crossed the Atlantic and inspired the American Gustav Stickley's Craftsman residential architecture. As part of the Movement's reaction against the Industrial Revolution, Stickley's Craftsman residences emphasized honest and simple design and the use of natural materials. My thesis identifies the expressions of Stickley's ideals in the case study of a surviving Craftsman home located in the suburb of Irvington in Indianapolis, Indiana. The case study examines the house's configuration, construction methods, original materials and ornamental motifs. This study is particularly significant because original plans and documentation are available for research. The residence has had few owners and has therefore retained most of its original features and materials. These factors make the residence an exceptional example of Craftsman architecture.
Department of Architecture
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Machenheimer, Cassandra Elizabeth. "An American "Bookbuilder": An Examination of Loyd Haberly and the Transatlantic Arts and Crafts Movement." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556243824913042.

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Panayotidis, Euthalia Lisa. "The bureaucratization of creativity, the British Arts and Crafts Movement and its impact on Ontario education, 1880-1940." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0015/NQ45830.pdf.

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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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Wright, Christopher Wellman. "The Arts and Crafts aesthetic in a contemporary setting /." Online version of thesis, 1988. http://hdl.handle.net/1850/11547.

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Denney, Matthew John. "Arts and Crafts furniture and vernacular furniture." Thesis, Bucks New University, 1997. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.714467.

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Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.

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Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.

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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.
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Roberts, Rosalie. "Crafting Radical Fictions: Late-Nineteenth Century American Literary Regionalism and Arts and Crafts Ideals." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19668.

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This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization. Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.
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Ibbotson, Verity Rose. "Collaboration and the Arts and Crafts Movement : the Art Workers' Guild, the Arts and Crafts Exhibition Society, the Quarto Imperial Club, and related group endeavour in Boston and Chicago." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577638.

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Books on the topic "British Arts and Crafts Movement"

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Naylor, Gillian. The arts and crafts movement: A study of its sources, ideals and influence on design theory. 2nd ed. London: Trefoil Publications, 1990.

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The impact of modernism, 1900-1920: Early modernism and the arts and crafts movement in Edwardian England. London: Routledge, 1988.

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The arts & crafts movement. London: Grange, 1996.

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The arts & crafts movement. London: Apple Press, 1989.

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Adams, Steven. The arts & crafts movement. Secaucus, N.J: Chartwell Books, 1987.

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Adams, Steven. The arts & crafts movement. London: Tiger Books, 1992.

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The Arts & Crafts movement. London: Apple Press, 1987.

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Massey, James C. Arts & crafts. New York: Abbeville Press, 1995.

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Jill, Bace, and Rae Graham, eds. Arts & crafts. New York, N.Y: DK Pub., 2005.

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International arts & crafts. London: Flame Tree, 2005.

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Book chapters on the topic "British Arts and Crafts Movement"

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Luckman, Susan. "Precarious Labour Then and Now: The British Arts and Crafts Movement and the Ethics of Rural Cultural Work Re-visited." In Locating Cultural Work, 48–84. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283580_3.

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Adams, Brian. "Nell Brooker Mayhew and the Arts and Crafts Movement in America." In The Routledge Companion to Women in Architecture, 44–56. New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429278891-5.

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Rotman, Deborah L. "Domestic Production for Public Markets: The Arts and Crafts Movement in Deerfield, Massachusetts, c.1850–c.1911." In Historical and Archaeological Perspectives on Gender Transformations, 45–62. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-4863-1_3.

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"Arts and Crafts Movement." In The Visual Dictionary of Illustration, 37. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: English Language Support Office, 2009. http://dx.doi.org/10.5040/9781474293754.0025.

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"Arts and Crafts Movement." In The Visual Dictionary of Architecture, 49. AVA Publishing SA Bloomsbury Publishing Plc, 2008. http://dx.doi.org/10.5040/9781350096462.0036.

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"Arts & Crafts Movement." In The Visual Dictionary of Graphic Design, 30. AVA Publishing SA Distributed by Thames & Hudson (ex-North America) Distributed in the USA & Canada by: Ingram Publisher Services Inc. AVA Publishing (UK) Ltd., 2007. http://dx.doi.org/10.5040/9781474293761.0017.

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Hart, Imogen. "‘The Arts and Crafts Movement’." In The Oxford Critical and Cultural History of Modernist Magazines, 120–42. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:osobl/9780199654291.003.0008.

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"An Arts and Crafts Movement Emerges in New England." In Arts and Crafts Architecture, 92–114. University Press of New England, 2014. http://dx.doi.org/10.2307/j.ctv1xx9bg3.9.

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"Exhibiting the Arts and Crafts." In Women art workers and the Arts and Crafts movement. Manchester University Press, 2020. http://dx.doi.org/10.7765/9781526140449.00007.

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King, Brenda M. "The arts and crafts movement and Indian silk." In Silk and empire. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526118110.00020.

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