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The Arts and Crafts movement was an international movement in the decorative and fine arts that flourished in Europe and North America between 1880 and 1910, emerging in Japan in the 1920s. It stood for traditional craftsmanship using simple forms, and often used medieval, romantic or folk styles of decoration. It advocated economic and social reform, and has been said to be essentially anti-industrial.〔〔Moses N. Ikiugu and Elizabeth A. Ciaravino, ''Psychosocial Conceptual Practice models in Occupational Therapy''〕 Its influence was felt in Europe until it was displaced by Modernism in the 1930s,〔 and continued among craft makers, designers and town planners long afterwards.〔 The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887,〔Alan Crawford, ''C. R. Ashbee: Architect, Designer & Romantic Socialist'', Yale University Press, 2005. ISBN 0300109393〕 although the principles and style on which it was based had been developing in England for at least twenty years. It was inspired by the writings of the architect Augustus Pugin (1812–1852), the writer John Ruskin (1819–1900), and the artist William Morris (1834–1896).〔 The movement developed earliest and most fully in the British Isles, and spread across the British Empire and to the rest of Europe and North America.〔Wendy Kaplan and Alan Crawford, ''The Arts & Crafts Movement in Europe & America: Design for the Modern World'', Los Angeles County Museum of Art〕 It was largely a reaction against the perceived impoverished state of the decorative arts at the time and the conditions in which they were produced.〔Brenda M. King, ''Silk and Empire''〕 ==Social and design principles== The Arts and Crafts style emerged from the attempt to reform design and decoration and the reaction against contemporary styles that the reformers associated with machine-production, partly a reaction against the style of many of the items shown in the Great Exhibition of 1851, which were ornate, artificial and ignored the qualities of the materials used. The art historian Nikolaus Pevsner has said that exhibits in the Great Exhibition showed "ignorance of that basic need in creating patterns, the integrity of the surface" and "vulgarity in detail".〔 Design reform began with the organisers of the Exhibition itself, Henry Cole (1808–1882), Owen Jones (1809–1874), Matthew Digby Wyatt (1820–1877) and Richard Redgrave (1804–1888),〔(V&A, "Wallpaper Design Reform" )〕 and Morris's dislike of excessive ornament and badly made things was not exclusive to the Arts and Crafts movement.〔Naylor 1971〕 Owen Jones, for example, declared that "Ornament ... must be secondary to the thing decorated", that there must be "fitness in the ornament to the thing ornamented", and that wallpapers and carpets must not have any patterns "suggestive of anything but a level or plain".〔Quoted in Nikolaus Pevsner, ''Pioneers of Modern Design''〕 Where a fabric or wallpaper in the Great Exhibition might be decorated with a natural motif made to look as real as possible, a Morris & Co. wallpaper, like the Artichoke design illustrated above, would use a flat and simplified natural motif. Morris mixed design criticism with social criticism, insisting that the artist should be a craftsman-designer working by hand〔 and advocating a society of free craftspeople, such as he believed had existed during the Middle Ages. "Because craftsmen took pleasure in their work", he wrote, "the Middle Ages was a period of greatness in the art of the common people. ... The treasures in our museums now are only the common utensils used in households of that age, when hundreds of medieval churches - each one a masterpiece - were built by unsophisticated peasants."〔 There was inconsistency and disagreement about whether machinery should be rejected altogether. At one point Morris said that production by machinery was "altogether an evil",〔 but when he could find manufacturers willing to work to his own exacting standards, he employed them to make his designs〔Graeme Shankland, "William Morris - Designer", in Asa Briggs (ed.) ''William Morris: Selected Writings and Designs'', Harmondsworth: Penguin, 1980 ISBN 0-14-020521-7〕 and he said that, in a "true society", where neither luxuries nor cheap trash were made, machinery could be improved and used to reduce the hours of labour.〔William Morris, "Useful Work versus Useless Toil", in Asa Briggs (ed.) ''William Morris: Selected Writings and Designs'', Harmondsworth: Pengin, 1980 ISBN 0-14-020521-7〕 Fiona MacCarthy, writing of Morris's experiments with silk dyeing, says that "unlike later zealots like Gandhi, William Morris had no practical objections to the use of machinery ''per se'' so long as the machines produced the quality he needed." C.R.Ashbee shared his ambivalence. At the time of his Guild of Handicraft, initiated in 1888, he said, "We do not reject the machine, we welcome it. But we would desire to see it mastered."〔〔Ashbee, C.R., ''A Few Chapters on Workshop Construction and Citizenship,'' London, 1894.〕 After unsuccessfully pitting his Guild and School of Handicraft guild against modern methods of manufacture, he acknowledged that "Modern civilization rests on machinery",〔 but he continued to criticize the deleterious effects of what he called "mechanism", saying that "the production of certain mechanical commodities is as bad for the national health as is the production of slave-grown cane or child-sweated wares."〔"C.R.Ashbee, ''Should We Stop Teaching Art?'', New York and London: Garland, 1978, p.12 (Facsimile of the 1911 edition)〕 Ruskin's and Morris's idea that the division of labour was undesirable did not result in Arts and Crafts artists carrying out every stage in the making of goods and it was only in the twentieth century that that became an essential part of the definition of craftsmanship. The founders of the Arts and Crafts Exhibition Society did not insist that the designer should also be the maker or the 'executant'. Peter Floud, writing in the 1950s, said that "The founders of the Society ... never executed their own designs, but invariably turned them over to commercial firms."〔Peter Floud, "The crafts then and now", ''The Studio'', 1953, p.127〕 Floud argues that the idea that the designer should be the maker and the maker the designer derived "not from Morris or early Arts and Crafts teaching, but rather from the second-generation elaboration doctrine worked out in the first decade of (twentieth ) century by men such as W. R. Lethaby.〔 The movement was associated with socialist ideas in the persons of Morris, T. J. Cobden Sanderson, Crane, Ashbee and others. In the early 1880s Morris was spending more of his time on socialist propaganda than on designing and making. Ashbee established a community of craftsmen, the Guild of Handicraft, in east London, later moving to Chipping Campden.〔 Those adherents who were not socialists, for example, Alfred Hoare Powell,〔 advocated a more humane and personal relationship between employer and employee. In Britain the movement was associated with dress reform,〔(V&A, "Victorian Dress at the V&A" )〕 ruralism, the garden city movement〔Fiona MacCarthy, ''Anarchy and Beauty: William Morris and his Legacy 1860-1960'', London: National Portrait Gallery, 2014 ISBN 978 185514 484 2〕 and the folk-song revival, and in continental Europe with the preservation of national traditions in building, the applied arts, domestic design and costume. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Arts and Crafts movement」の詳細全文を読む スポンサード リンク
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