Arts and Crafts Movement and the Legacy of William Morris

Origins and Philosophy of the Arts and Crafts Movement

The Arts and Crafts movement originated in England during the Victorian era, specifically in the late 19th Century ( $XIX$ century). Led by William Morris, the movement's participants sought to bring art and craft closer together by creating decorative and applied art objects made by hand. This movement was deeply rooted in the ideology of the Pre-Raphaelites, which idealized the original, unique creations of medieval craftsmen. This medievalist perspective was used as a direct contrast to the perceived soulless and faceless machine-made products of the capitalist industrial period. Ultimately, the Arts and Crafts movement served as the foundational starting point for the development of the Art Nouveau ("Modern") style and contemporary design.

The movement was largely a reactionary response to the Industrial Revolution. During this period, European daily life was inundated with characterless, stencil-produced mass goods. William Morris and other Pre-Raphaelites shared the conviction of John Ruskin, who argued that the superiority of handmade goods over factory-produced items was non-negotiable. They believed that mass production would lead to the regression of both the creator and the consumer. To preserve these values, followers of the movement functioned as heirs to medieval traditions, organizing themselves into various guilds and associations to discuss ideas and share experience, each with its own style, specialization, and leader.

Guilds, Associations, and Professional Structures

Several significant guilds emerged during this period, including the Guild of St. George, the Century Guild (Դարի Գիլդիա), and the Guild of Handicraft (Արհեստների Գիլդիա) along with its associated school. Another notable institution was the Cotswold School and the Guild of Art Workers. The primary mission of the Guild of Art Workers was the enlightenment of the public regarding the fields of applied arts and crafts through methods such as lectures, meetings, displays, and discussions. Their goal was to establish and maintain high standards in design and craftsmanship by any means beneficial to society.

Structural organizations within the movement varied in their internal dynamics. For instance, the Guild of Art Workers involved the merger of five young architects from the former Guild of St. George and a "Group of Fifteen" (Տասնհինգի խումբը) founded by Lewis F. Day and the designer Walter Crane. In 1861, following the ideals of Pugin, William Morris established the firm "Morris, Marshall, Faulkner & Co." (later known simply as "Morris & Co."). This company produced textiles, furniture, and stained glass. While "Morris & Co." maintained a systematic production structure and the Century Guild fostered close labor relations among members, the Guild of Art Workers was more decentralized, with members often working independently in their own studios and workshops.

Stylistic Evolution and the Two Phases of the Movement

The development of the Arts and Crafts movement in Great Britain occurred in two distinct stages. In the first phase, led primarily by William Morris, aesthetic preference was given to simplicity, clarity of volume, and an abundant use of floral and animal patterns. These characteristics are particularly prominent in the wallpaper designs produced by Morris. During this stage, the emphasis was on reviving folk crafts to counter the impersonal nature of industrial output.

In the second phase, the movement evolved to include more abstract motifs and supernatural or mythological figures. For example, Arthur Mackmurdo of the Century Guild introduced an abstract approach to his art. Some artists incorporated elements of physical movement into their compositions. Notable works from this period include the ceramic pieces of William Morgan, the porcelain of Walter Crane, and the multicolored enamel and metal products designed by the architect and designer Charles Ashbee.

Public Recognition and Global Influence

In an effort to make their work more widely known and recognized, members of the movement decided to organize large-scale exhibitions. Despite facing various obstacles, they held their first exhibition in 1888 at the New Gallery on Regent Street in London, led by Walter Crane. The name of the organizing group, the "Arts and Crafts Exhibition Society," eventually translated into the name of the movement itself.

Although the movement began in Great Britain, its influence quickly spread throughout Europe and the United States. In Scandinavia and Central Europe, the movement's principles helped spark a revival of national styles. The movement asserted a significant impact on the aesthetic development of applied arts and served as the source for Art Nouveau. Furthermore, its followers established the vital concept of "Art's close influence on the lifestyle of society."

Key Figures and Collaborators of the Arts and Crafts Movement

The movement was supported and defined by a vast array of influential artists, architects, and theorists:

William Morris (1834–1896): English artist, writer, art theorist, and social activist.
Edward Coley Burne-Jones (1833–1898): English artist famous for his work in stained glass.
Philip Speakman Webb (1831–1915): Architect and designer who worked in the Modern style and was a founder of Arts & Crafts in English architecture.
Arthur Heygate Mackmurdo (1851–1942): English artist and architect.
Charles Robert Ashbee (1863–1942): English architect and designer.
Charles Francis Voysey (1857–1941): English architect and designer.
Ernest William Gimson (1864–1919).
John Henry Dearle (J. H. Dearle) (1859–1932): British textile and stained glass designer.
Herbert Percy Horne (1864–1916).
Marshall & Snelgrove Ltd (1895–1900): Focused on clothing design.
Charles Rennie Mackintosh (1868–1928): Scottish architect, artist, and designer; founder of the Modernist direction in Scotland.
Walter Crane (1845–1915): English painter, book designer, and general designer.

Detailed Biography of William Morris (1834–1896)

William Morris was a central figure of the Pre-Raphaelite generation and a primary founder of the Arts and Crafts movement. He studied at Oxford University from 1853 to 1856 and dedicated the years between 1857 and 1862 primarily to painting. In 1861, he co-founded his artistic-industrial company with P. Marshall and C. Faulkner, establishing workshops for jewelry, furniture, textiles, and other handicrafts. His regular collaborators included E. Burne-Jones, F. Brown, F. Webb, Rossetti, A. Hughes, and S. Solomon.

Morris's aesthetic views were shaped by the teachings of Thomas Carlyle, the lectures of John Ruskin, and the ideologies of the Pre-Raphaelites. He sought to rejuvenate folk crafts by opposing individual creativity to the capitalist machine. To preserve heritage, he founded the "Society for the Protection of Ancient Buildings" in 1877. In 1890–1891, he established the Kelmscott Press, which published books illustrated in the spirit of English Gothic miniatures by Morris and his associates.

Literary and Political Contributions of William Morris

Morris was also an accomplished literary figure, known for his poems "The Defence of Guinevere" (1858) and "The Earthly Paradise" (1868–1870), which are distinguished by their romantic styling. He played a significant role in the English labor movement during the 1880s. Starting in 1883, he was a member of the Democratic Federation and was one of the founders of the Socialist League in 1884. He also served as the editor and publisher of the organ "Commonweal" from 1884 to 1890.

As a supporter of socialism, Morris believed that art and design could fundamentally change the structure of society and improve the quality of life for both creators and consumers. He argued that industrialization and mechanization were the root causes of the majority of problems within English society. His socialist views are reflected in numerous articles, revolutionary poems, and his social-utopian novel, "News from Nowhere or An Epoch of Rest" (Լուրեր ոչ մի տեղից կամ Երջանկության դարաշրջանը), published in 1891.