Architecture Art and Craft Movement

Progressive Trends in the 19th Century

1. Progressive Trend in the 19 th Century

2. Group Members Shajeeah Daarain Ambreen Akhtar

3. What is the progressive trend? Happens gradually change over a period of time. Ideas has modern ideas about how things should be done, rather than traditional ones .

4. Art and Craft Movement (1860-1900)

5. Introduction Around the 1850s in Britain, a design movement developed to challenge the impact of the Industrial Revolution on manufactured goods. The  Arts and Crafts Movement  included fine art, architecture , design, and decorative arts like ceramics and furniture . The movement developed earliest and most fully in the British Isles  and spread across the British Empire and to the rest of Europe and America. It was largely a reaction against the perceived impoverishment of the decorative arts at the time and the conditions in which they were produced.

6. Birth of Arts and Crafts Movement Arts & Crafts 1875-1915 The Arts & Crafts movement began in Britain as a reaction to the de-humanizing effects of the late 19th century industrialization. It was a social and artistic movement of the second half of the 19th cent. emphasizing a return to handwork, skilled craftsmanship, and attention to design in the decorative arts, from the mechanization and mass production of the Industrial Revolution. It was inspired by the ideas of architect Augustus Pugin (1812–1852), writer John Ruskin (1819– 1900), and artist William Morris (1834–1896).

7. Some Key Forces which gave Birth to the Movement Rejection of Classical and Italianate architecture, and the revival of the Gothic Style. Rebellion against industrialization and mass production by machines. Leading figures believed in a socialist or utopian society, striving for good quality of life for all, including art for the people, by the people. It was a reaction against a decline in standards that the reformers associated with machinery and factory production, and was in part a response to items shown in the Great Exhibition of 1851 that were ornate, artificial and ignored the qualities of the materials used.

8. Continued Nostalgia for the medieval age seen as the golden age of creativity and freedom. Artists and craftsman were viewed as equals, art was no longer a separate or superior activity. The revival of craftsmanship, honesty in construction, and truth to materials .

9. Social Reforms of Arts and Crafts M ovement C hange in working condition. Believe in restoration power of craftsmanship.. Simple life. Arts as a way of life. Artisanal production improved laborers’ conditions and edified society.

10. Principles Design unity Joy in labor Individualism Regionalism

11. Characteristics Simple form and Shape : Simple forms were one of the hallmarks of the Arts and Crafts style. There was no extravagant or superfluous decoration and the actual construction of the object was often exposed.

12. Continued Natural Motifs : Nature was an important source of Arts and Crafts motifs. The patterns used were inspired by the flora and fauna of the British countryside .

13. Continued Truth to Materials : Preserving and emphasizing the natural qualities of the materials used to make objects was one of the most important principles of Arts and Crafts style. The V ernacular :The vernacular, or domestic, traditions of the British countryside provided the main inspiration for the Arts and Crafts Movement. Many of those involved set up workshops in rural areas and revived old techniques Crafts skill required to manufacture. Manufactured by one skilled person or a small group, not mass produced on production line.

14. Architecture In the nineteenth century the taste in design for buildings moved away from Classical styles. In the place of classical styles the new architectural styles of, first, Gothic Revival, and then Arts and Crafts emerged Arts and Crafts architecture followed these principles, allowing the function of the building and the activities within it to determine the outer shape and the construction, leaving out excessive ornamental features.

15. Continued One departure from Gothic style was that Arts and Crafts buildings tended to have graceful curved arches rather than pointed and many were designed on a modest scale, in styles reminiscent of the manorial halls and half timbered cottages of Tudor or Elizabethan England. The preference for local slate, and red brick, for English Oak and for the cosy Inglenook fireplace rather than ornate lead roofs and carved marble chimney piece defined the Arts and Crafts style . There was also a contrast in values between classical architecture and Arts and Crafts.

16. Continued Classical architecture was seen as being built by slave labor or, in more recent times, by wage slaves, whereas Arts and Crafts relied on a partnership between designer and craftsman in which the craftsman was highly respected alongside the artist and architect . There was too a greater concern for equality, and a concern to improve the quality of life which a building could provide for its occupants.

17. Features of the Arts and Crafts M ovement Houses Porch with thick square or round columns Stone porch supports Wood ,stone, stucco : sliding low pitched roof, wide eaves with triangular brackets. Exposed roof rafters Exterior chimney made with stone

18. Porch with thick square or round columns Stone porch supports

19. Wood ,stone, stucco : sliding low pitched roof, wide eaves with triangular brackets .

20. Exposed roof rafters

21. Exterior chimney made with stone

22. Wooden beamed ceiling

23. Built in cabinet, shelves and seating

24. Open Floor Plan

25. Number of Windows

26. Windows with stained glass or leaded glass

27. John Ruskin (1819-1900)

28. Introduction Born: He was born in London on 8 th February, 1819 Died: He died on 20 January, 1900 Occupation: He was the leading English art critic of the Victorian era. He was an art patron, draughtsman, watercolourist, well known social thinker. He was Inspired by Pugin (English architect) Ruskin supported the design of the past.

29. Ruskin Style He is certainly one of the greatest masters of English prose style. In the earlier writings of Ruskin, We find an ornamental, gorgeous prose. In all of his writing, he emphasised the connections between nature, art and society. The union of art and labour in service to society, would create the largest number of happy human beings. Socialism

30. Continued Ruskin Believed that machines and factory work limited human happiness therefore, he supported finding joy in work through a closer relationship with crafts.

31. Principles His thought is based on the following; Beauty and Art are closely connected. Beauty has a moral function: it helps us develop a high moral sense; Art contributes to the spiritual health of man. All great art derives from deep morality. Industrial society, lacks spiritual values, so cannot produce great art; the Middle Ages society is characterized by deep morality.

32. Continued Ruskin believed in the power of art to transform the lives of people His creed was: ‘ There is no wealth but life’

33. William Morris (1834-1896)

34. William M orris Born: He was born in 1834 in London, England. Died: He died in 1896. Occupation: Morris was an artist designer, printer, typographer, bookbinder, craftsman, poet, writer . Morris was a brilliant two dimensional pattern designer. William Morris was the central figure in the Arts and Crafts Movement and one of the most important and influential designers in British History.

35. Continued Morris combined his artistic skills with strong political beliefs. He was a committed conservationist and Socialist, he dedicated his life to the idea that art should improve the lives of ordinary people. In 1861, Morris founded his first company and he began to make furniture and decorative objects commercially, modelling his designs on middle age styles and using bold forms and strong colours.

36. Continued His patterns were based on flora and fauna, and his products were inspired by domestic traditions of the British countryside. Some were deliberately left unfinished in order to display the beauty of the materials and the work of the craftsman, thus creating a rustic appearance. Morris strove to unite all the arts within the decoration of the home, emphasizing nature and simplicity of form.

37. Morris & co block printed wallpaper

38. N ature as Inspiration

39. Nature as Inspiration

40. The Red House (1858-1860)

41. The Red House The Red House, in Bexleyheath, was designed in 1858-1860 by Philip Webb for his friend William Morris. It build in classical style and inspired by British architecture. With its well proportion, solid form, deep porch ,steep roof, pointed windows, arches , brick fireplace, and wooden fitting.

42. Continued The red house perhaps the best know building associated with art and craft movement. L-shape floor plan of red house. Red house build in asymmetrical shape. U se of red brick for the exterior of the house.

43. Continued Designers give the specific beauty of natural material. Stained glass used in the throughout the house. Entrance of the house is a large wooden door that leads to a rectangular hallway.

44. Floor Plan of the Red House

45. Red House from Outside

46. Red House from Inside

47. Stained Glass

48. The Decline of Arts and Crafts Despite its high ideals, the Arts and Crafts Movement was essentially flawed. Their opposition to modern methods of production and the tendency to look back to the middle world , rather than forward to a progressive era of complete mechanization, was what eventually sounded the death of the movement. They could only fail in their socialist ideal of producing affordable quality hand-crafted design for the masses as the production costs of their designs were so high that they could only be purchased by the wealthy.

49. Continued Also, any movement which continually looks to the past for its inspiration must have a limited life span. However, in time the English Arts and Crafts movement came to stress craftsmanship at the expense of mass market pricing. The result was extremely beautiful made and decorated pieces that could only be afforded by the very wealthy. Thus the idea of art for the people was lost, and only relatively few craftsman could be employed making these fine pieces.