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    Arts & Crafts-Art Nouveau

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    Nisma Thayyil
    The Arts and Crafts movement began in the second half of the 19th century in England as a response to the dehumanizing effects of industrialization. It emphasized handcraftsmanship and traditional design applied to everyday objects. William Morris was a key figure and inspired the philosophy of "art for all" and honesty in construction. The movement stressed simplicity, craftsmanship using natural materials, and inspiration from medieval styles. It influenced the later Art Nouveau style, known for organic forms and flowing asymmetrical designs inspired by nature.

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    Arts & Crafts-Art Nouveau

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    Nisma Thayyil
    34 views30 pages
    The Arts and Crafts movement began in the second half of the 19th century in England as a response to the dehumanizing effects of industrialization. It emphasized handcraftsmanship and traditional design applied to everyday objects. William Morris was a key figure and inspired the philosophy of "art for all" and honesty in construction. The movement stressed simplicity, craftsmanship using natural materials, and inspiration from medieval styles. It influenced the later Art Nouveau style, known for organic forms and flowing asymmetrical designs inspired by nature.

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    The Arts and Crafts movement began in the second half of the 19th century in England as a response to the dehumanizing effects of industrialization. It emphasized handcraftsmanship and traditional design applied to everyday objects. William Morris was a key figure and inspired the philosophy of "art for all" and honesty in construction. The movement stressed simplicity, craftsmanship using natural materials, and inspiration from medieval styles. It influenced the later Art Nouveau style, known for organic forms and flowing asymmetrical designs inspired by nature.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    34 views30 pages

    Arts & Crafts-Art Nouveau

    Uploaded by

    Nisma Thayyil
    The Arts and Crafts movement began in the second half of the 19th century in England as a response to the dehumanizing effects of industrialization. It emphasized handcraftsmanship and traditional design applied to everyday objects. William Morris was a key figure and inspired the philosophy of "art for all" and honesty in construction. The movement stressed simplicity, craftsmanship using natural materials, and inspiration from medieval styles. It influenced the later Art Nouveau style, known for organic forms and flowing asymmetrical designs inspired by nature.

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    © All Rights Reserved
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    of 30

    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

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