Wright Arts and Crafts Wright Arts and Crafts Chair

Pervasive and revolutionary the Arts and Crafts movement originated in England in the 1880s. Evolving from the theories and practices of the English language Aesthetic motility and the Pre-Raphaelite Brotherhood, information technology would get i of the most influential design movements of the modernistic age. Its affect was felt across Europe and America. Promoted by key figures including the artist-designer William Morris, and the keen Victorian critic and writer, John Ruskin, it offered an creative and philosophical reaction to the ostentatious, industrialized designs of the high-Victorian era.

Fueled by concern over the detrimental effects of industrialization on design, adroitness and the lives of workers, the movement established a new set of principles for living and working.  In dissimilarity to the dehumanizing factories and mass production of the industrial age, it emphasized social reform through new workshop practices, and promoted original, innovative designs rather than slavish revivals of historic styles. Craft objects were produced in all media: metalwork, ceramics, glass, textiles and article of furniture, while architecture typically provided the context within in which these objects were brought together.

The Arts and Crafts motion provided a powerful impetus to Wright'south architectural principles, and shaped the piece of work of his contemporaries in Europe and United kingdom of great britain and northern ireland who sought to create a vocabulary of design they considered appropriate for modernistic life. The Arts and crafts movement in America was part of a much larger turn-of-the-century international effort for reform in the arts. While information technology certainly owes a tremendous debt to foreign sources, American architects and designers were able to establish an artful wholly separate from that of Europe, adapting their work to regional circumstances, with variations dependent on local climate, mural and building methods and materials. Every bit the historian H. Allen Brooks, succinctly states:

"Arts and crafts was a movement and not a style. It was an attitude, an arroyo to a problem that advocated no specific vocabulary of forms. It pleaded for simplicity, emptying, and respect for materials. Its most salutary effect, in retrospect, was the purification of public taste."

Other countries also adjusted Arts and Crafts philosophies on a national and regional footing, shaping these principles to their ain needs. In Scotland, Charles Rennie Mackintosh created an architecture that drew from diverse sources, including English Craft, Continental Art Nouveau, and the traditional baronial architecture of his homeland.  In 1903, the Viennese designers, Josef Hoffmann and Koloman Moser founded the Wiener Werkstätte, an organization devoted to the design and sale of high quality craft products.  Modeled on C.R. Ashbee's London-based Guild of Handicraft, the Wiener Werkstätte sought to heighten the standards of Viennese craftsmanship, integrating craft and the modern interior, and promoting the platonic of decorative art.  Wright himself recognized the parallels betwixt the Vienna Secession and his own work, stating in his 1929 Kahn lectures, "I came upon the Secession during the winter of 1910. At that fourth dimension Herr Professor  Wagner of Vienna, a great architect, the builder Olbrich of Darmstadt, the remarkable painter Klimt of Austria and the sculptor Metzner of Berlin—great artists all—were the soul of that motility. And there was the work of Louis Sullivan and myself in America."

Wright's exposure to the international scene came through multiple sources. International Expositions, held in Chicago in 1893, and St. Louis in 1904, provided Wright with two important points of contact with contemporary design movements in Europe. International design ideals were disseminated in America through journals such equally The Craftsman, House Beautiful, and Ladies Home Journal, besides as through clubs and societies that sponsored lectures and programs. Wright'southward personal acquaintance with leading designers and theorists, such as the English designer C. R. Ashbee, were also important factors that shaped his early career.

Banner Image:
Dining Room, Frederick C. Robie House, 1910, Drove of the Frank Lloyd Wright Trust
Photograph: Henry Fuermann

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Source: https://flwright.org/researchexplore/wrightandinternationalartsandcrafts