ARTS AND CRAFTS MOVEMENT

*ENGLISH AESTHETIC MOVEMENT

*SECOND HALF OF THE 19TH CENTURY

*REPRESENTED THE BEGINNING OF A NEW APPRECIATION OF

THE DECORATIVE ARTS THROUGHOUT EUROPE
WHY THE MOVEMENT ?
A RESPONSE TO THE DEHUMANIZING EFFECTS OF

THE INDUSTRIAL REVOLUTION

*A REVOLT AGAINST THE HARD MECHANICAL CONVENTIONAL LIFE

AND IT'S INSENSITIVITY TO BEAUTY.

*A PROTEST AGAINST INDUSTRIAL PROGRESS WHICH PRODUCES

SHODDY WARES, THE CHEAPNESS OF WHICH IS PAID FOR BY THE

LIVES OF THEIR PRODUCERS AND THE DEGRADATION OF THEIR

USERS.

*A PROTEST AGAINST THE TURNING OF MEN INTO MACHINES

AGAINST ARTIFICIAL DISTINCTIONS IN ART

*IT WAS A SOCIAL AND ARTISTIC MOVEMENT 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)
*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 WAS CONSIDERED.
• PORCHES WITH THICK COLUMNS

• OPEN FLOOR PLANS

• STAINED GLASS.

• EMULATE MEDIEVAL THATCHED HUTS.

• COZY BUNGALOWS MADE FROM NATURAL MATERIALS.

(WOOD,STONE AND STUCCO)

• DOORS COVERED WITH WIDE EAVES

• DARK WOOD MOULDING

SOCIAL REFORMS OF ARTS AND CRAFTS MOVEMENT

*CHANGE 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
CHARACTERISTICS NATURAL MOTIFS :
SIMPLE FORM AND SHAPE :
*NATURE WAS AN IMPORTANT
*SIMPLE FORMS
SOURCE OF ARTS AND CRAFTS
*NO EXTRAVAGANT OR SUPERFLUOUS
MOTIFS.
DECORATION
*THE PATTERNS USED WERE
*THE ACTUAL CONSTRUCTION OF THE
INSPIRED BY THE FLORA AND
OBJECT WAS OFTEN EXPOSED.
FAUNA OF THE BRITISH

COUNTRYSIDE.
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
The red house
STYLE.

ARTS AND CRAFTS EMBRACED SIMPLICITY OF LINE, GOOD, DURABLE

MATERIALS, AND THE HUMAN TOUCH.
*THE VERNACULAR 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. IT WAS NOT MASS
PRODUCED ON PRODUCTION LINE
COMBINATION OF SIMPLICITY, GOOD DESIGN AND CRAFT WORK.

*STEREO METRIC, GEOMETRIC, LARGE “VERTICAL GOTHIC”

WINDOWS, CUBIC FORMS, RATIONAL FLEXIBLE LAYOUT,
INFLUENCED THE WORK OF MIES VAN DER ROHE.

*FLUID, DELICATE DÉCOR OF ARCHES, ENTRANCE, ALCOVES,

STAIRS, BALUSTRADE, INTERIOR OR DETAILS IN WOOD AND METAL

*TRADITIONAL APPROACHES AND MATERIALS SUCH AS STONE

WITH IT IS MASSIVE CHARACTER MIXED WITH MODERN
MATERIALS IRON, GLASS.
THE RED HOUSE

*COMMISSIONED BY MORRIS, PHILIP WEB BUILT THE RED HOUSE AT

BEXLEY HEATH IN KENT.

*THE HOUSE WAS TO REPRESENT A PROTEST AGAINST

INDUSTRIALISM THROUGH ITS:

• INFORMALITY

• ABSENCE OF DECORATION

• SIMPLE VERNACULAR

• THE EMPHASIS ON BASIC FORM

• SOUND MATERIALS

• GOOD CRAFTSMANSHIP
ART NOUVEAU
*INSPIRED BY WILLIAM MORRIS, THE MOVEMENT CONTRIBUTED

TO EUROPEAN ART NOUVEAU, BUT WAS EVENTUALLY

TRANSFORMED BY THE ACCEPTANCE OF MODERN INDUSTRIAL

METHODS.

*ART NOUVEAU DESIGNERS ALSO BELIEVED THAT ALL THE ARTS

SHOULD WORK IN HARMONY TO CREATE A "TOTAL WORK OF
ART”

*ART NOUVEAU EMBRACED ALL FORMS OF ART AND DESIGN:

ARCHITECTURE, FURNITURE GLASSWARE, GRAPHIC DESIGN,
JEWELRY PAINTING, POTTERY, METALWORK, TEXTILE
THE ART NOUVAE
*INTRINSICALLY LINKED TO LITERATURE , PAINTING,
SCULPTURE , MUSIC AND DECORATIVE AND GRAPHIC ARTS

*PROPAGATED UNEXPLORED AESTHETIC IDEALS AND ITS

FINAL PHASE INFLUENCED THE TEXTILE INDUSTRY ,
CRYSTALS AND FASHION

*WITH TECHNOLOGICAL DEVELOPMENT LITHOGRAPHY

GAINED COLORS THAT INFLUENCED THE GRAPHIC AREA
(POSTERS ).
FEATURES OF ART NOUVAE

*BREAKING WITH TRADITIONS.

*NO IDEOLOGICAL CONCERNS OR AESTHETIC TRADITIONS.

*SETTING THE CONTOUR LINE OF THE FORM AND DIRECTION OF THE

CONSTRUCTION.

THE FORMS :

•ARABESQUES,CURVES AND PREDOMINANCE OF COLD TONES.

• INSPIRATION IN NATURE (FOLIAGE,FLOWERS,ANIMALS )

• USE OF MOSAIC AND DIFFERENT MATERIALS.

• SIEGFRIED BING WAS THE
FOUNDER IN 1895 OF " LA MAISON
DE L'ART NOUVEAU " IN PARIS.

• IT WAS HIS ART GALLERY AND

EXHIBITION HALL THAT GAVE ITS
NAME TO THE FAMOUS ARTISTIC
STYLE ART NOUVEAU.
• THE DESIGNS WERE
INSPIRED FROM SOME
NATURE FORMS LIKE
CURVES FORMED BY
WAVES OF SEA, TREES.
CASA BATLA, SPAIN
BY
ANTONIO GAUDI
MIGHTY PILLARS THAT APPEAR TO RESEMBLE THE FEET OF SOME GIANT
ELEPHANT ARE THE FIRST THING TO MEET THE EYE OF THE PASSERBY FROM
STREET LEVEL.

THE ROOF IS BORDERED BY A JAGGED LINE SIMILAR TO THE BACKBONE OF A

GIGANTIC DINOSAUR.
A FACADE EXTENDS BETWEEN THE TWO, INCLUDING A NUMBER OF SMALL,
ELEGANTLY CURVED BALCONIES THAT SEEM TO STICK TO THE FRONT OF THE
HOUSE LIKE BIRDS' NESTS ON THE FACE OF THE CLIFF.
THE FACADE ITSELF GLITTERS IN NUMEROUS COLOURS, AND SMALL ROUND
PLATES THAT LOOK LIKE FISH SCALES ARE LET INTO IT.

THERE ARE NO EDGES OR CORNERS HERE; EVEN THE WALLS ARE ROUNDED
IN UNDULATIONS AND HAVE IN ESSENCE THE FEEL OF THE SMOOTH SKIN OF A
SEA SERPENT ABOUT THEM.
 ART NOUVEAU ARCHITECTS

• ANTONIO GAUDI

• VICTOR HORTA

• SIEGFRIED BING
 WORKS

• ANTONIO GAUDI

*LA SAGRADA FAMILIA

*PARK GUELL
*CASA MILA
*CASA BATLLO
 WORKS

• VICTOR HORTA

*HORTA MUSEUM
*HOTEL TASSEL
*HOTEL SOLVAY
*HOTEL VAN EETVELDE
*PALAIS DES BEAUX ARTS