Journal articles: '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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9

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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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.

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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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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.

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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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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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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.

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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.

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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.

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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.

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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.

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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.

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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 this era who could be dismissed as traditionalists but who attempted to continue the ideals of the Arts and Crafts Movement in difficult times.

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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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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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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.

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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.

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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 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.

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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.

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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.

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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.

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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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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.

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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.

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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.

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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.

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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.

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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 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.

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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.

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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’ 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.

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Hughes, Hawksmoor. "Crafts Lives: oral history in the making." Art Libraries Journal 33, no. 4 (2008): 11–13. http://dx.doi.org/10.1017/s0307472200015558.

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Crafts Lives, an oral history project for National Life Stories at the British Library, records in-depth life stories of Britain’s craftspeople exploring both their personal and their working lives. This new archive will provide a well of new information for academics, historians, students and craftspeople to draw upon. It should also contribute to a definition of British crafts that will give them their proper place in relation to the fine arts.

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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.

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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 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.

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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.

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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.

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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 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.

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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.

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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 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.

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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.

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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 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.

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Smyth. "Grierson, the British Documentary Movement, and Colonial Cinema in British Colonial Africa." Film History 25, no. 4 (2013): 82. http://dx.doi.org/10.2979/filmhistory.25.4.82.

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Jones, Robin. "British Interventions in the Traditional Crafts of Ceylon (Sri Lanka),c. 1850–1930." Journal of Modern Craft 1, no. 3 (November 2008): 383–404. http://dx.doi.org/10.2752/174967808x379443.

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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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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.

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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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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.

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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.

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Vranić, Igor. "Izidor Kršnjavi and beginning of arts and crafts movement in Zagreb in the 1880s." Studia Slavica et Balcanica Petropolitana 21, no. 1 (2017): 128–44. http://dx.doi.org/10.21638/11701/spbu19.2017.108.

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

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