The tradition of craftsmanship which inspired the
The Arts and Craftsmovement was active between the years of 1880 and 1910, given the time, therewas a strong influence of the Anglo-Saxon tradition of craftsmanship whichinspired the movement as it became assigned as a style in both the decorativeand fine arts. The movement spread internationally, stretching from GreatBritain and other parts of Europe, eventually reaching North America, Australiaand parts of South East Asia in the 1920’s (specifically Japan because of theheavy Dutch influence and trade, given the name the Mingei movement.
). Duringthe beginning of the movement Britain has a fin-de-sieclecaptivation with new technologies, being heavily influenced by the IndustryRevolution as previously mentioned. This fascination brought about the’commercialization of craftsmanship’.1 Industrially madepatterns, objects, craft items, interior elements and simplified renderings ofartisanal crafts were newer, cheaper and widely available as they overflowedmarkets, the art world and society overall.
The need to rediscover the beautyof hand-made craftmanship in the production of arts and crafts was unearthed aftercontemporary critics detected that this new development jeopardised the artenvironment, so they set to reinstall these values alongside re-establishing ahumanistic approach to labour like seen the pre-industrial society.A major eventhappened at the end of the 19th century that was pinnacle for the commencementof the Arts and Crafts movement was the Great Exhibition held in CrystalPalace, 1851. The even took place in Hyde Park in London for the duration ofthe months May through until mid-October of that year with critics quick todescribe the items on show as vulgarly artificial, mass produced and claimingthat they completely discarded the abilities and potentials of the materialsused. While the idea of the ‘ornament’ was the centre for much disagreementbetween craftsman, architects and industrials; Influential epoch authors agreedin this thesis that the ornament should remain in secondary importance to thedecorated object, believing in the principle that is it more imperative to beconceptually connected and derivative from the material qualities in ensuringthe final piece is indivisible from the design vision.
They perceivedrecommendations about the impending future of the design industry to be adirect revival of craftsmanship and the (re)humanization of the design process.