Arts and Craft Movement is one of the most famous and influential interest groups that were created between 1880 and 1910. Its traits can be observed in numerous works of modern designers. Certain political, economic, and social issues were taken into account while the introduction of that new style to cover what could make people choose particular characteristics. In this paper, the evaluation of these issues and their impact on the development of the Arts and Crafts Movement will be discussed, the explanations of how the representatives of the end of the 19th century wanted to revive the importance of the quality of book design, overcome the challenges, and use the benefits of the Industrial Revolution will be given, and the themes of politics, economy, and society will be raised.
The end of the 19th century was characterized by a number of dramatic changes that were caused by the Industrial Revolution and its impact on the European people (Meggs and Alston 174). Many philosophers and thinkers believed that the idea of mass production could bring certain negative consequences that worsened the quality and even the general look of the goods and services. People were in need of certain improvements from the political and economic points of view. For a long period, artists and designers suffered from the political tyranny that was spread. They were not able to create their projects and use their freedoms of mind. “Fears in society were generated by the repercussions from the industrial revolution… with politics impacting on daily life and instability created by periodic economic depressions” (Cluckie 21).
It was expected that all works had to reflect the existing political and social views developed on the basis of the industrialization. The formation of the movement can be observed in the works and thoughts developed by John Ruskin. He underlined the mercantile nature of the economy of the end of the 19th century and asked to regain the social order for her [Europe] children (Meggs and Purvis 174).
The majority of Ruskin’s theories were based on the idea of social justice and the improvement of the conditions under which industrial employees, as well as the people of art, had to live and work. His philosophies provided people with a hope that everything could be improved, and the process of the artist’s isolation could be stopped. Still, it was necessary to find a person or a group of people, who could introduce a required number of grounds and ideas to be noticed and accepted. Besides, it is important to understand the latest economic changes that were caused by the Industrial Revolution. New groups of people appeared to invest in the industry.
People got access to a huge amount of goods and services and had to spend their savings to cover the losses. People were confused about the available variety and lost the power of quality and uniqueness. At the same time, people got the possibilities to discover the world and visit more countries.
Industrialization offered the possibility to exchange knowledge and experience between different regions. Therefore, using the opportunities offered and to overcome the challenges appeared, William Morris was one of the first designers, who listened to the suggestions of Ruskin, used his knowledge and the desire to promote improvements, and became a pivotal figure in the history of design and the development of the Arts and Craft Movement (Meggs and Purvis 175).
William Morris was the son of wealthy parents. He got an opportunity to study at Exeter College (Oxford) and travel a lot to evaluate the design experience of different European countries. In a short period, he was able to conclude that it was necessary that “a book not limited by commercial exigencies of price” (Morris 1). People were limited in their words and even thoughts. They could not get a chance to comprehend the matter of art the way they wanted. Even the books people could use during that period were not ideal because they had to be “printed on hand-made paper”, and the industrialization made them available to everyone by means of many copies made (Morris 4).
The Arts and Crafts Movement was a protest against the existing industrial society (O’Neill 2). It was an attempt to combine art and craft and promote freedom of thought. Morris was the creator of a new wave in the sphere of design that helped to destroy “the tastelessness of mass-produced goods and the lack of honest craftsmanship” (Meggs and Purvis 176). He introduced hundreds of designs for wallpapers and carpets using personal decorations. Inspired by his social independence, many people were eager to join the movement and introduced their guilds united by common ideas and interpretation of art (“Arts and Crafts” par. 1).
The brightest followers of the ideas offered by Ruskin and the ideas developed by Morris were Mackmurdo, Image, and Horne, who organized the Century Guild using their experiences got in Italy and France, Hooper, the representative of the Kelmscott Press, Prior and Newton, the members of the Art Workers Guild, or the creator of the Guild of Handicraft, Charles Ashbee.
Though the movement was developed and raised in Britain, it spread throughout the whole world in a short period. In America, these were Frederic Goudy and Bruce Rogers, who introduced the Arts and Crafts design. For example, the friend of Rogers offered him to read some Kelmscott books. Rogers was impressed by the quality and design observed so that he studied the British works thoroughly and joined the Riverside Press that was under the Arts and Crafts influence as well (Meggs and Purvis 188).
Being a passionate bookkeeper, Goudy read several Kelmscott Press books as well. He became interested in art and literature and declared himself as a freelance designer. His works and suggestions were highly appreciated in Chicago and became popular in other states of America. Goudy, as well as many American designers, was impressed by the ideas introduced by Morris. He wanted to provide the Americans with the right of choice in the sphere of design and use the British style within the American frameworks.
The only difference that could be observed between American and British Arts and Crafts Movement was connected with the goals defined by its developers. The British Arts and Crafts were used to provide people with the possibility to change the existing industrialized conditions and use the sources that were available to people. In their turn, Americans did not want to adopt a new style to the existing traditions. They wanted to introduce a new form of art, a new vision of old constructions and projects.
In general, the Arts and Crafts Movements and the contribution of Morris spread around the whole world and helped people understand their chances and opportunities even if they had to follow certain traditions and meet expectations. The chosen style and the works offered by designers from different regions clarified the peculiarities of social values, political norms, and economic opportunities that were developed at the end of the 19th century.
Works Cited
“Arts and Crafts.” BBC Homes n.d.
Clucky, Linda. The Rise and Fall of Art Needlework: Its Socio-Economic and Cultural Aspects. La Vergne, TN: Arena Books, 2008. Print.
Meggs, Philp, B. and Alston W. Purvis. Meggs’ History of Graphic Design. Hoboken, NJ: John Wiley & Sons, 2011. Print.
Morris, William. “The Ideal Book.” Looking Closer 3: Classical Writings on Graphic Design. Ed. Michael Bierut, Jessica Helfand, Steven Heller, and Rick Poynor. New York: Allworth Press, 1999. 1-5. Print.
O’Neill, Morna. “Arts and Crafts Painting: The Political Agency of Things.” British Art Studies 1 (2015). Web.