Crafts Movement Research Articles

The Career of an Architect-Planner: Colin Ernest Philp in Tasmania 1925-1960

ABSTRACT Architects were closely connected with the town planning movement in the first sixty years of the twentieth century. In Tasmania a leading architect-planner was Colin Ernest Philp (1906–95), who trained as an architect in Hobart and practiced in Launceston from 1925 to 1936, in Hobart from 1936 to 1960 and in Fiji from about 1961. Initially influenced by the Arts and Crafts movement, Philp later applied new methods to an eclectic range of buildings. This article selectively discusses examples of his architectural work, partly influenced by some overseas visits, and his role as “one of the entrepreneurial leaders of Modernism in Tasmania.” But Philp commands our attention for being Tasmania’s most outspoken architect-planner to advocate the application of town planning principles, first in Launceston in the 1930s, but more emphatically from the 1940s in Hobart, where he was prominent on numerous professional and community bodies, advocating better housing and metropolitan planning and tackling problems caused by the motor car. While serving on the Hobart City Council as an alderman from 1956 to 1960, Philp was strategically placed to further his town planning agenda, but was only partially successful. This paper assesses his career as architect, planner and alderman until 1960.

EXPLORING THE HISTORICAL LAYERS OF VICTORIAN SOCIETY & FASHION TRENDS: A LITERARY REVIEW

The Victorian era, spanning Queen Victoria's reign from 1837 to 1901, witnessed a complex interplay of societal norms, cultural trends, economic factors, and gender roles that profoundly influenced fashion. This era was characterized by a strict code of morality and respectability, leading to clothing that emphasized modesty and concealment, along with a distinctive class-based approach to attire. The fascination with Orientalism and the Arts and Crafts Movement left a distinct mark on fashion, introducing exotic elements and handmade details. Economic and technological factors, notably the Industrial Revolution, transformed the fabric market and influenced clothing availability and affordability. The proliferation of visual media disseminated fashion trends, while distinct men's and women's fashion reflected the "separate spheres" ideology. This exploration of Victorian fashion is not merely a retrospective analysis but an examination of how clothing serves as a mirror to society. The legacy of this era endures, influencing contemporary fashion and underscoring the enduring relationship between attire and culture. The study of Victorian fashion offers a deeper understanding of how societal values, cultural dynamics, economic forces, and gender constructs intertwine to shape the clothing choices of a bygone era, leaving a rich and resonant tapestry of historical and cultural significance.

Drawn from Nature: Wallpaper patterns in New Zealand's Schools of Art and Design

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.

"Lions and wyvens and dolphins, oh my!": Jessie Mitchell Elmslie's Arts and Crafts furniture

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.

May Morris, Dorothy Walker, and the Legacies of the Arts and Crafts Interior

The designers of the Arts and Crafts movement attempted to articulate the democratic power of the domestic interior. The legacies of these ideas are shaped by house museums such as Kelmscott Manor (home of William Morris) and 7 Hammersmith Terrace (Emery Walker’s House, publicized as “The Arts and Crafts Home”). Lived in and maintained by female descendants, May Morris and Dorothy Walker, and their female companions, these house museums invite a reassessment of the role of the Arts and Crafts movement in feminist and queer histories of interior design. In this article, I demonstrate some of the ways in which house museums and the Arts and Crafts movement can offer opportunities to expose some of the disciplinary structures that hinder an inclusive history of interior design. Situating its case studies in the context of the history of heritage preservation, and engaging with feminist scholarship, I argue that one strategy for exposing and challenging hidden biases in the field is to recognize homemaking, preservation, and curating as forms of creative labor that have made crucial contributions to the history of interior design. Focusing primarily on gender but also paying attention to questions of class, race, and sexuality, I consider the potential and the limits of the Arts and Crafts house museum’s capacity to contribute to intersectional histories of interior design.

Кросскультурные интерпретации философии Янаги Соэцу

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.

Works in Thread and the Emergence of Israeli Fiber Art

This article discusses the history of textile exhibitions in Israel during the state’s first three decades, focusing on the seminal yet completely overlooked exhibition Works in Thread, held at the Israel Museum’s Design & Architecture Department in 1975. As this article shows, Works in Thread was an eclectic compilation of applied- and art-textiles, both hand- and machine-made, but it particularly highlighted the new medium of art textiles, or fiber art, known locally as “work in soft thread.” I argue that this exhibition serves as an archeological site that reveals multiple currents in the short history Israel’s textile production, particularly a process by which textiles and fiber works were gradually perceived as objects for aesthetic consumption rather than merely useful ones. By considering Works in Thread in its historical context, this article seeks to illuminate the multi-faceted sources for Israel’s early fiber art, and contextualize the local manifestation of of and the international studio craft movement.

Disobedience as Usual: Why Design Activists Need Historians

Since the financial crash of 2008, and the resulting rise of the Occupy, Indignados, and other anti-capitalist movements, a flurry of academic publications devoted to design activism has also resulted.1 Publishers recognize a hungry student readership wanting to be reassured that, once they graduate, there may be alternatives to “working for the giant,” something other than selling their souls in service of capital. Of course, this isn’t the first time that a narrative of social change has inhabited the history of design. Indeed, a rather “standard” history of design—from William Morris and the Arts and Crafts movement, through the early Bauhaus, postwar reconstruction, Italian radical design to present-day design activism—may be recounted as one of socially committed design and the crafting of alternative visions.2‘The history of design is a history of activism’. Discuss. might be an examination question for an undergraduate History of Design program general paper. The late 1960s and early 1970s have gained special attention lately.3 This might be because many of the emergent activities of the period, including participatory processes and community engagement, as well as design as refusal, critical practice, and autonomous action, have found a new relevance for design activists today. These accounts underpin the suggestion that the most interesting design in history has been disobedient. Given all this, one sometimes wonders why there seems to be such a wide gap between these noble intentions and what we have in daily life.

The prison-handicraft complex: Convict labour in colonial India

AbstractPrison labour was an integral part of the penal order in colonial India in the nineteenth and early twentieth centuries. Especially in Bengal, such coerced labour, overwhelmingly male, was increasingly deployed in handicrafts production rather than in extramural construction projects, a regimen that led to the development of a prison-handicraft complex. Colonial efforts to refine this system focused largely on increasing the severity of the conditions of incarceration and indoor work, but also on the conflicting goal of maximizing the profits of its handiwork. Prisons thus emerged as effective sites of handicrafts production, with the products of their forced labour facilitating the revival of the crafts industry whose growth is generally attributed to the rise of an international arts and crafts movement in Britain and India.

THE "OLD ENGLISH GARDEN" AND THE SEARCH FOR A NEW STYLE IN THEORETICAL TREATISES OF THE LATE 19TH - EARLY 20TH CENTURIES

At the end of the 19th century, landscape architects in England began a discussion about the revival of the "old English garden". Each of them offered their own image of the olden times and their own way of the new realisation. Three options stand out among them. Reginald Blomfield advocated the "formal garden" and created forms in which the plant world was enclosed among laconic rectangular walls, pools and parterres. His opponent William Robinson put forward the idea of a "wild garden" in which regular parterres were replaced by sods of wild herbs. Harold Pito substantiated the type of a small regular garden in the frame of Italian architectural forms. The creative collaboration of architect Edwin Lutyens and florist Gertrude Jekyll provided examples of "rural" architecture using natural stone; there were rich combinations of shapes, textures and colours of flowering plants. All these searches took place at a turning point. Using the nostalgic pathos of the Arts and Crafts movement as a starting point, the architects set the stage for 20th-century landscape solutions, including the “herb garden” by contemporary Dutch designer Piet Oudolf.

Religion Pays: The Business of Art Industry Entrepreneurs and Splendour in the Spaces of Nineteenth-Century Irish Catholicism

Abstract During the nineteenth century legislative reforms and religious revival in Ireland brought about significant change in the practice and position of Catholicism. This fostered a consumer revolution in religious art and architecture as architects, religious figures and a Catholic bourgeoisie aspired to recreate the architectural magnificence and status associated with Catholic churches of the medieval period in Ireland and Europe. The characteristic splendour of these interiors owes much to commercial producers of religious art from Britain and Europe. Makers of stained glass and decorative mosaics, in particular, dominated the Irish market even after the establishment of an Irish Arts and Crafts movement from the early 1890s and continued to thrive well into the twentieth century, even as Irish artist-designed church art grew more popular with patrons. This essay takes a fresh approach to analysing the spaces of Irish Catholicism by exploring the ‘backstage’ of religion from the perspective of commercial church art business history. It draws out two themes central to this Roundtable: the ways in which local sacred spaces and landscapes were impacted by transnational exchanges and processes, and the relationship between physical space and imaginative space in architectural production.

Back to nature: Landscape in the Pre-Raphaelite Brotherhood and the Arts and Crafts movement

By the mid-19th century, the United Kingdom reached the peak of industrialisation and economic expansion, while revealing the first drawbacks of progress: social inequality, urban overcrowding, and aesthetic discontent as a result of productive techniques. In this context, and in opposition to the prevailing academic art, the Pre-Raphaelite Brotherhood was born. They sought the authenticity they considered lost in their time in pre-Raphaelite paintings and medieval legends, with an attentive gaze on nature. From the outset, the Brotherhood had the support of the art critic John Ruskin. His writings on a new economic ethic and the creative and dignifying value of craftsmanship marked his «disciple» William Morris and the Arts and Crafts movement.

The Rise of Judaic Calligraphy in the Twentieth Century

:Excluding religiously required safrut (e.g., handwritten Torah scrolls, mezuzot, tefillin, gittin), artistic aspects of Judaic calligraphy declined after moveable type was invented in the fifteenth century. Rediscovery of medieval calligraphic techniques in late nineteenth-century Britain, plus contemporaneous typographical studies in Germany, spurred revival of artistic calligraphy. The first Arts and Crafts movement, pre-World War I German research into aesthetic letterforms, and the Bezalel Academy sparked a rise of secularized Judaic calligraphy. Growth of folk arts and ethnic pride in the 1960s and accessible photocopiers in the 1970s allowed nonspecialists to become expert calligraphers.

Analysis on the Design Style of William Morris Pattern

William Morris (1834-1896) was a famous artist and designer in Europe in the 19th century, the founder of the Arts and Crafts movement and the father of modern design, with a pivotal position in the design world. The patterns he designed take animals and plants in nature as elements and integrate them into his own pattern design. Through regular arrangement, he created vivid and elegant patterns, which influenced designers from generation to generation. William Morris is of epoch-making significance. This paper analyses the background of the formation of Morris pattern, Morris pattern with plant as motif, color analysis, structural framework and organizational form of Morris pattern.

Noel Bamford: the first director of the Auckland School of Architecture

Auckland's keenest advocate of the Arts and Crafts movement was Frederick Noel Bamford (1881-1952) who was the first director of the Auckland School of Architecture from 1917-19. Apprenticed to carpenter and architect Edward Bartley (1839-1919) during the years that St Matthews-in-the-city was being designed, Bamford excelled at drawing and travelled to London to become a student at the Royal Institute of British Architects' School in 1904. Along with fellow expatriate architectural student Arthur Patrick Hector Pierce (1879-1918), Bamford found work in the office of Edwin Lutyens (1869-1919), famed for his romantic English country houses. Bamford returned to Auckland in 1906, and was elected an Associate of the RIBA the following year. Pierce followed, and they formed an architectural partnership which became renowned for its houses in the English Domestic Revival style adapted for New Zealand conditions. Bamford and Pierce are best known for designing the glamourous Coolangatta, 464 Remuera Road (1911, demolished in 2006) for Canadian-born Alfred Foster, a surveyor and his wife Jessie, which Peter Shaw observes is almost an exact copy of a Lutyens house at Fulbrook, Elstead, Surrey, built in 1897. As well as indicating the rapid transmission the Lutyens country house typology to New Zealand, the story of the Bamford and Pierce partnership offers an intriguing insight into the social relationships of Edwardian Auckland. Pierce's father George was prominent in the Anglican Diocese, and one of the earliest commissions that Bamford and Pierce secured was for Bishopscourt, a home for the Anglican Bishop of Auckland, known as Neligan House (1909-10). Connections to the law firm of Hesketh Richmond (Bamford's father was Edwin Bamford, (1846-1928), Registrar-General of Lands) resulted in the commission for Waione (1910), a single storey house at 22 Domett Avenue, Epsom as well as two houses for wealthy heiress Jeannie Stirling Richmond (1854-1917) for construction on her Rockwood estate. Ngahere at 74 Mountain Road (1907-8) was designed for Richmond's newly married daughter Margaret MacCormick (1884-1972) is renowned for its butterfly floor plan. Woodend at Gilgit Road (circa 1914-15) was designed as the home of Noel Bamford's brother, lawyer Dr Harry Dean Bamford, who lectured in law at Auckland University College. In 1912, the year that his Remuera house went up in flames destroying £2000 worth of Arts and Crafts furniture, Bamford founded the Arts and Crafts Club in Auckland, becoming its inaugural president. The Club was to have a key role in promoting the adaptation of the ideology of William Morris, and incorporated Māori arts into its definition of craft.

DIFFERENT MATERIAL APPROACHES IN EMBROIDERY ART; PAPER SAMPLE

Mankind, who has been trying to position itself on earth since its existence, has turned to various efforts in order to meet its basic needs. As a result of these efforts, various branches of art have emerged. All kinds of effects, from the person who makes it to the raw material used, played a big role in the classification of these branches of art. Embroidery art, which is evaluated under the title of thread arts, was defined as feminine arts in ancient times due to the delicate structure of thread. After the Art and Craft movement, the postmodernism and emergence of the feminism movement there were breaking points in the approaches to the art of embroidery. Technological developments have also greatly affected the art of embroidery art, which has begun to take its place among the conceptual art. As a positive result of these, the art of embroidery has become an art branch that can be done by everyone, regardless of woman or man, and can be applied on any kind of surface. In the art of embroidery, which is also known as the art of ornament, it is seen that meaningful projects have started to be made as a message to social concerns. In this study, embroideries on paper surfaces were examined. Paper surfaces vary and each has a different sensitivity. Therefore, such studies are defined as experimental studies. In the study, the works made by 3 different artists on 3 different paper backgrounds were examined and their document analyzes were made. It is understood that with these works created with the idea of using the beautiful and the imperfect together, the art of embroidery has gained an identity that goes beyond the borders in material and emphasizes social events.

Approaching sustainable development goals: Inspirations from the Arts and Crafts movement to reshape production and consumption patterns

AbstractContemporary profit‐oriented development and consumption cultures have led to unsustainable behaviours and lifestyles and prevented our achievement of the sustainable development goals (SDGs). This article explores how arts and aesthetics could form a trend of thought to reshape current production and consumption patterns. I argue that the Arts and Crafts movement of 19th‐century Britain provides many clues for today's industries and societies to create sustainable values, including its defence of labour value, promotion of arts education, and pursuit of nature and honest aesthetics. This article analyses the movement's historical contexts and vital propositions and associates them with the United Nations' SDGs. The implications are multidimensional and interconnected. Firstly, developing small‐scale and customised products or services that meet customers' cultural and life experiences might extend product longevity. In addition, such manufacturing transformation requires incorporating craft ideas into various industries and techniques and forging cross‐sector collaboration to enable open innovation and employment equity. Finally, enterprises could work with public sectors and cultural institutions to promote community empowerment and everyday aesthetics, cultivating public awareness of responsible production and ethical consumption. This paper provides interdisciplinary discourse to turn arts and crafts values into tangible schemes for sustainable development.

Pewabic Pottery: The American Arts & Crafts Movement Expressed in Clay by Thomas W. Brunk

Pewabic Pottery: The American Arts & Crafts Movement Expressed in Clay by Thomas W. Brunk

Arts & crafts in architecture

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.

Ethel Wallace: A Forgotten History of Batik and Fashion

Ethel Wallace gained notoriety for batik textiles in the early twentieth century. Based on newly available primary sources from a private collector this article presents a more holistic summary of the accomplishments of this woman artist, with a particular focus on her textiles of the 1920s. Wallace’s batiks were exhibited widely, also used for fashion, and can be positioned with early twentieth century Modernism and the American Arts and Crafts movement. She was influenced by modernists, such as painter Joseph Stella and opera singer Eva Gauthier, the latter of whom embraced Orientalism in both design and performance. Wallace’s batik fabrics were positively reviewed in a wide variety of news media of the period, and progressive New Woman influencers such as Gertrude Whitney were among her clients. After she died in 1968, her accomplishments as a woman designer and maker were lost to the passage of time.