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Historians, educationalists, craftsmen and women, artists and collectors, and readers with an interest in British cultural history will find this handsomely illustrated book poses fresh, unexpected questions.
This study is an examination of the life and work of Edward Barnsley (1900-1987), a furniture designer and craftsman, who was involved with the beginnings of the Crafts Centre and the Crafts Council of Great Britain from the 1940s to the 1960s. His father, Sidney Barnsley, directly influenced by William Morris, was one of the major figures of the movement; Edward continued his work as a furniture designer and the struggle to live as a craftsman and convince others of the value of a life making things.
Surveying for the first time the Century Guild of Artists (CGA) and its influential periodical, the Century Guild Hobby Horse, this original publication asserts the significance of the CGA in the development of the Arts and Crafts movement and its modernist successors. Founded by the architect Arthur Heygate Mackmurdo and his 18-year-old assistant Herbert Percy Horne (afterwards joined by the artist and poet Selwyn Image), the three men were driven by the ambition to answer John Ruskin's radical call to regenerate art and society. Motivated by the concept of 'the Unity of Art', the CGA embraced a spectrum of arts which included architecture, painting, sculpture, metalwork, textiles and stained glass. It also reached out to music and literature, aiming to educate its public in practical form. Skilfully weaving chronology with the impressive artistic achievements of the collective, the authors also draw out the lively personalities of each of the protagonists and their wider circle. For anyone fascinated by the Arts and Crafts movement, this is essential reading.
An insightful corrective demonstrating the Arts and Crafts Movement's indelible impact on British and American stained glass Beautifully illustrated and based on more than three decades of research, Arts & Crafts Stained Glass is the first study of how the late-19th-century Arts and Crafts Movement transformed the aesthetics and production of stained glass in Britain and America. A progressive school of artists, committed to direct involvement both in making and designing windows, emerged in the 1880s and 1890s, reinventing stained glass as a modern, expressive art form. Using innovative materials and techniques, they rejected formulaic Gothic Revivalism while seeking authentic, creative inspiration in medieval traditions. This new approach was pioneered by Christopher Whall (1849-1924), whose charismatic teaching educated a generation of talented pupils--both men and women--who produced intensely colorful and inventive stained glass, using dramatic, lyrical, and often powerfully moving design and symbolism. Peter Cormack demonstrates how women made critical contributions to the renewal of stained glass as artists and entrepreneurs, gaining meaningful equality with their male colleagues, more fully than in any other applied art. Cormack restores stained glass to its proper status as an important field of Arts and Crafts activity, with a prominent role in the movement's polemical campaigning, its public exhibitions, and its educational program. Published for the Paul Mellon Centre for Studies in British Art
Written by leading international scholars, Twentieth Century Britain investigates key moments, themes and identities in the past century. Engaging with cutting-edge research and debate, the essays in the volume combine discussion of the major issues currently preoccupying historians of the twentieth century with clear guidance on new directions in the theories and methodologies of modern British social, cultural and economic history. Divided into three, the first section of the book addresses key concepts historians use to think about the century, notably, class, gender and national identity. Organised chronologically, the book then explores topical thematic issues, such as multicultural Britain, religion and citizenship. Representing changes in the field, some chapters represent more recent fields of historical inquiry, such as modernity and sexuality.
This book traces the history of youth culture from its origins among the student communities of inter-war Britain to the more familiar world of youth communities and pop culture. Grounded in extensive original research, it explores the individuals, institutions and ideas that have shaped youth culture over much of the twentieth century.
"Arts & Crafts" has come to be a name for a style of decorative arts, but just try to pin it down. It's a huge challenge, because it encompasses such a broad variety of work. Early pieces, such as some of those by William Morris, draw from more ornate Victorian artifacts. Contrast these with the simpler, medieval-inspired work of Morris, the austere elegance of chairs and built-in cabinetry by Voysey, or furniture produced by the Barnsleys--never mind the clear Art Nouveau influences in much of Mackintosh's work. It quickly becomes clear just how broad this period in design history really is. English Arts & Crafts Furniture explores the Arts & Crafts movement with a unique perspective on furniture designs inspired by English Arts & Crafts designers. Through examination of details and techniques as well as projects, you'll learn what sets English Arts & Crafts apart and gain a deeper understanding of the overall Arts & Crafts movement and its influences. In this book you'll find: • Insight into the history and culture surrounding the Arts & Crafts movement • An examination of influences that set English Arts & Crafts designers including William Morris, Charles Francis Annesley Voysey, Ernest Gimson, Ernest and Sidney Barnsley, and Charles Robert Ashbee apart from their American counterparts • 3 complete furniture projects that illustrate traits representative of English Arts & Crafts: a Voysey chair, a hayrake table designed by Ernest Gimson and a sideboard design from the Harris Lebus company, England’s largest furniture maker at the time Equal parts design survey and project book, English Arts & Crafts Furniture is a must-read for any serious fan of Arts & Crafts furniture.
20th Century Britain provides an authoritative and accessible survey of contemporary research on economic activity, society, political development and culture. Written by leading academics, it examines recent advances in scholarship and gives a grounding in established approaches and topics. The first part comprises thematic essays covering the whole of the twentieth century, including chapters on the economy, economic management, big business, parliamentary politics, leisure, work, health, international economic relations and empire. It uncovers key areas of equality and diversity in chapters on women, living standards, social mobility, ethnicity and multiculturalism, and gender and sexuality. The most recent subfields of historical studies are also explored, including disability history and environmental economic history. The second part focuses on seismic events and topics covering shorter timeframes, including the World Wars, interwar Depression, Britain and European integration, sexual behaviours, civil society, the 1960s cultural revolution and resisting racism. This collection provides an essential guide to current academic thinking on the most important elements of twentieth-century British history and is a useful tool for all students and scholars interested in modern Britain.
A new perspective on woman’s role in the world of art jewelry at the turn of the twentieth century—from Art Nouveau in France and the Arts and Crafts movement in Britain, to Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago—and the most extensive survey to date of the sheer diversity and beauty of art jewelry during this period. Accompanying a groundbreaking exhibition at The Richard H. Driehaus Museum in Chicago, this lavishly illustrated catalog showcases nearly two hundred stunning pieces from the Driehaus Collection and prominent national collections, many of which have never been seen by the public. Women were not only the intended wearers of art jewelry during the early twentieth century, but also an essential part of its creation. Their work—boldly artistic, exquisitely detailed, hand wrought, and inspired by nature—is now widely sought after by collectors and museums alike. From the world’s first independent female jewelry makers, to the woman as artistic motif, this jewelry reflected rapid changes in definitions of femininity and social norms. Essays by noted scholars explore five different areas of jewelry design and fabrication, and discuss the important female figures and historic social milieu associated with these movements—from the suffragists and the Rational Dress Society in England; to the Wiener Werkstätte and Gustav Klimt; and the Art Nouveau masters René Lalique and Alphonse Mucha, who depicted otherworldly women in jewelry for equally fascinating patrons like Sarah Bernhardt. The essays are illustrated by historic photographs and decorative arts of the period as well as the extraordinary pieces themselves: hair combs, bracelets, brooches, and tiaras executed in moonstones, translucent horn, enamel, opals, aquamarines, and much more. As Driehaus writes in his introduction to Maker & Muse, “Essential as these elements are, the metal and gemstones of a necklace—or a brooch or a bracelet—are like a canvas. It is the designer who evokes true greatness, beauty, and value from them. Neither monumental nor mass-produced, the object contains a memory of a particular artist’s skilled hand.”