"Ideals in Art: Papers Theoretical, Practical, Critical" by Walter Crane. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
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Walter Crane. Ideals in Art: Papers Theoretical, Practical, Critical
Ideals in Art: Papers Theoretical, Practical, Critical
Table of Contents
PREFACE
IDEALS IN ART. OF THE ARTS AND CRAFTS MOVEMENT: ITS GENERAL TENDENCY AND POSSIBLE OUTCOME
OF THE TEACHING OF ART
OF METHODS OF ART TEACHING
NOTE ON TOLSTOI’S “WHAT IS ART?”
OF THE INFLUENCE OF MODERN SOCIAL AND ECONOMIC CONDITIONS ON THE SENSE OF BEAUTY
OF THE SOCIAL AND ETHICAL BEARINGS OF ART
OF ORNAMENT AND ITS MEANING
THOUGHTS ON HOUSE-DECORATION
OF THE PROGRESS OF TASTE IN DRESS IN RELATION TO ART EDUCATION
OF TEMPORARY STREET-DECORATIONS
OF THE TREATMENT OF ANIMAL FORMS IN DECORATION AND HERALDRY
OF THE DESIGNING OF BOOK-COVERS
OF THE USE OF GILDING IN DECORATION
OF RAISED WORK IN GESSO
THE RELATION OF THE EASEL PICTURE TO DECORATIVE ART
A GREAT ARTIST IN A LITERARY SEARCHLIGHT2
INDEX
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Walter Crane
Published by Good Press, 2022
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Guilds, or groups of associated workers were also formed for the practice and supply of certain handicrafts, and societies like that of the Home Arts and Industries Association organized village classes in wood-carving, pottery, metal-work, basket-making, turning, spinning, and weaving linen, embroidery, and other crafts.
These efforts, mostly due to a band of enthusiastic amateurs, must all be counted, if not always satisfactory in their results, yet as educational in their effects, and as creating a wider public interested in the handicraft movement, and therefore as adding impetus to that movement, which in 1888—the year of our own society’s foundation—even rose to the height of—or extended to the length of—a “National Association for the Advancement of Art in Relation to Industry” (such was its title) which actually held congresses in successive years in Liverpool, Edinburgh, and Birmingham—as if they were scientists or sectarians. Members of our society were more or less connected with these developments.
