The Arts & Crafts Movement

The Arts & Crafts Movement
Автор книги: id книги: 663385     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 170 руб.     (1,81$) Читать книгу Купить и читать книгу Купить бумажную книгу Электронная книга Жанр: Иностранные языки Правообладатель и/или издательство: Parkstone International Publishing Дата публикации, год издания: 2016 Дата добавления в каталог КнигаЛит: ISBN: 978-1-78310-383-6 Возрастное ограничение: 0+ Оглавление Отрывок из книги

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“Have nothing in your house that you do not know to be useful, or believe to be beautiful.” This quote alone from William Morris could summarise the ideology of the Arts & Crafts movement, which triggered a veritable reform in the applied arts in England. Founded by John Ruskin, then put into practice by William Morris, the Arts & Crafts movement promoted revolutionary ideas in Victorian England. In the middle of the “soulless” Industrial Era, when objects were standardised, the Arts & Crafts movement proposed a return to the aesthetic at the core of production. The work of artisans and meticulous design thus became the heart of this new ideology, which influenced styles throughout the world, translating the essential ideas of Arts & Crafts into design, architecture and painting.

Оглавление

Oscar Lovell Triggs. The Arts & Crafts Movement

1 – Ruskin’s Contribution To The Doctrine Of Work

2 – Morris And His Plea For An Industrial Commonwealth

3 – Ashbee And The Reconstructed Workshop

4 – The Development Of Industrial Consciousness

Major Artists

John Ruskin (London, 1819 – Coniston, 1900)

Philip Speakman Webb (Oxford, 1831 – Worth, 1915)

William Morris (Walthamstow, 1834 – Kelmscott, 1896)

William Frend De Morgan (London, 1839–1917)

Walter Crane (Liverpool, 1845 – Horsham, 1915)

Charles Robert Ashbee (London, 1863 – Sevenoaks, Kent, 1942)

Bibliography

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First row (from left to right):

Richard Norman Shaw (architect),

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The ground is now cleared for understanding Ruskin’s teachings respecting industry. He had proclaimed that art must spring from the people, that its test was its lowliness and its universality. He now reversed the proposition, and announced the necessity of ennobling the people through association with art – an association to be attained by means of their labour. The separation that had occurred between the artist and the artisan had worked injury to both kinds of products. The artists had become effeminate because they were not used to handling rough materials; workmen had become debased because they could not exercise their faculties in designing. The problem was to universalise art and to ennoble labour. Whether labour was dignified or not depended upon its character; whether rough and exhausting or with elements of recreation; whether done under conditions of slavery or freedom. Some work is degrading by its physical conditions; other work is dangerous to health; still other work destroys moral character. Labour can be dignified only as it has the character of dignity. In The Seven Lamps it is written that “objects are noble or ignoble in proportion to the amount of the energy of that mind which has visibly been employed upon them.” But fullness of life involves a large degree of freedom.

The sight of a degraded workman caused Ruskin the deepest gloom, while that of a free workman aroused his highest enthusiasm.

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