ARTS AND CRAFTS MOVEMENT

1880 and 1920

 Art Nouveau style
Art and craft Movement 1890 and 1910
1880 and 1920
It is ornamental style of art
It was inspired by natural forms and structures,
It is an international movement stood for
particularly the curved lines of plants and flowers.
traditional craftsmanship and opposed poor
It was expressed through decoration.
quality mass produce industrial Products.
The buildings were covered with ornament in curving
Inspired by medieval, romantic, or folk styles of
forms, based on flowers, plants or animals:
decoration.Gave importance to vernacular style.
butterflies, orchids and water lilies.
To re-establish a harmony between architect,
Façades were asymmetrical, and often decorated
designer and craftsman and to bring
with polychrome ceramic tiles.
handcraftsmanship to the production of well-
The decoration usually suggested movement; there
designer, affordable, everyday objects
was no distinction between the structure and the
ornament.
Architects:
John Ruskin
Architects:
William Morris
Antonio Gaudi, Spain
Philip Webb
Charles Rennie Mackintosh, United Kingdom
Victor Horta, Belgian Architect
Example:
Otto Wagner , Austrian Architect
Red House, in Bexleyheath,London,
Example:
Gaudí, Antoni: Casa Milá
The Arts and Crafts movement was an international movement in the decorative and
fine arts that began in Britain and flourished in Europe and North America between
about 1880 and 1920.

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 was essentially anti-industrial.
It had a strong influence on the arts in Europe until it was displaced by Modernism in
the 1930s, and its influence continued among craft makers, designers, and town
planners long afterwards
 THE ARTS AND CRAFTS MOVEMENT
(between 1860 and 1920)

The Arts and Crafts

Movement was a reaction
against the Industrial
Revolution.

The 'dark Satanic mills' of the Industrial Revolution

The members of the Arts and Crafts Movement included artists, architects,
designers, craftsmen and writers. They feared that industrialization was destroying
the environment in which traditional skills and crafts could prosper, as machine
production had taken the pride, skill and design out of the quality of goods being
manufactured.
 Architecture:

The belief that design should be dictated by function, that

vernacular styles of architecture and local materials should be
respected, that new buildings should integrate with the
surrounding landscape, and that freedom from historicist styles
was essential.
Some designers used bold forms and strong colours.
simple in form, without superfluous or excessive decoration,
and in order to express the beauty of craft some products were
deliberately left slightly unfinished, expressing the qualities of
the materials
 THE ARTS AND CRAFTS
MOVEMENT
Believes

•simple, refined aesthetics (beauty)

•simple, functional design (utility)
•living simply
•social reform (individuals more rational; society more harmonious)
•the virtue of a well decorated middle class home
•handcrafted objects
•high quality craftsmanship
•the joy of working and crafting with one's own hands
•creating objects well designed and affordable to all
•creating harmony with nature
•using and sustaining natural materials
•maintaining a sense of space and environment
•staying spiritually connected to home and nature
•creating space for inner peace away from jobs and factories
 WILLIAM MORRIS (1834 –1896)
PRINCIPLES
OF ARTS AND CRAFTS MOVEMENT
Writings of John Ruskin
HONESTY •Ruskin thought machinery was to blame for many social
ills and that a healthy society depended on skilled and
Design Unity creative workers.
–
Joy in Labour • concerned about the decrease of rural handicrafts,
–
which accompanied the development of industry, and
– Individualism
they regretted the loss of traditional skills and creativity.
Regionalism
–

SOCIAL REFORM
OF ARTS AND CRAFTS MOVEMENT

Change in Working
–
condition

– Beliefin restorative
power of
craftsmanship

– Simple life
– Art as a way of life Wallpaper designer by Morris
ARTS AND CRAFTS MOVEMENT
Red House
 WILLIAM MORRIS’

RED HOUSE
Architect - Philip Webb
(1857 - 1931) It was designed in 1859 by its
owner, William Morris, and the
architect Philip Webb

Red House was fashioned to an L-shaped

plan, with two stories and a high-pitched
roof made of red tile.

Wall paintings and stained glass

by Edward Burne-Jones

steep roofs, prominent chimneys, cross

gables, and exposed-beam ceilings

Gardens incorporated as part of the

house
 WILLIAM MORRIS’ RED HOUSE
Architect - Philip Webb
(1857 - 1931)

L shape plan
 Red House
landing: exposed
brickwork, and
abstract
stencilled ceiling
pattern

The oak staircase: "a

solid fence of tongue-
and-groove boards.
Architect - Philip Webb
WILLIAM MORRIS
RED HOUSE

Image Source: http://upload.wikimedia.org/wikipedia/com

mmons/0/00/Red_House_window_detail.JPG [ONLINE]
The Red House, in Bexleyheath, London, designed for Morris in 1859 by architect Philip
Webb, exemplifies the early Arts and Crafts style, with its well - proportioned solid forms,
wide porches, steep roof, pointed window arches, brick fireplaces and wooden fittings. The
house was to represent a protest against industrialism through its:
•Informality
•Absence of decoration
•Simple vernacular
The emphasis on basic form, sound materials and good craftsmanship had great appeal to
architects who in turn contributed to a poetic phase of European architecture.
Arts and Crafts objects were simple in form. They often had
patterns inspired by British flora and fauna and used the
vernacular, or domestic, traditions of the British
countryside. For example "Artichoke" wallpaper, by John
Henry Dearle.

Arts and Crafts ideals had influenced architecture, painting,

sculpture, graphics, illustration, book making and
photography, domestic design and the decorative arts,
including furniture and woodwork, stained glass,
leatherwork, lacemaking, embroidery, rug making and
weaving, jewellery and metalwork, enamelling and
"Artichoke" wallpaper, ceramics.
by John Henry Dearle.
 Conclusion

The movement was successful in raising the status of the craftsman

and promoting respect for native materials and traditions.

It failed to produce art for the masses

Its handmade products were expensive

ART NOUVEAU
 ROUGH TIMELINE
• Arts and Crafts Movement – 1860s – 1910s
• Art Nouveau – 1890s-1910s

Art Nouveau ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United
States.
It was expressed through decoration. The buildings were covered with ornament in curving forms, based on flowers,
plants or animals: butterflies, peacocks, swans, orchids and water lilies.
Façades were asymmetrical, and often decorated with polychrome ceramic tiles.
The decoration usually suggested movement; there was no distinction between the structure and the ornament.
Artist and architects were in favor of new, organic forms that emphasized humanity's connection to nature.
It was employed most often in architecture, interior design, jewellery and glass design, posters, and illustration.
It was a deliberate attempt to create a new style, free of the imitative historicism that dominated much of 19th-century
art and design.
Art Nouveau developed first in England and soon spread to the European continents.
HALLMARKS OF ART NOUVEAU STYLE

• flat, decorative patterns;

• intertwined organic forms such as stems
or flowers;
• an emphasis on handcrafting as opposed
to machine manufacturing;
• the use of new materials;
• and the rejection of earlier styles

It embraced all forms of art and

design:
• architecture
• furniture
• glassware
• graphic design
• jewelry
• painting
• pottery
• metalwork
• textile
•Art Nouveau (French for "New Style") was popularized by the famous Maison de l'Art
Nouveau (House of New Art), a Paris art gallery operated by Siegfried Bing.

It occurred at a time when mass-produced consumer goods began to fill the

marketplace, and designers, architects, and artists began to understand that the
handcrafted work of centuries past could be lost.

Art Nouveau designers simultaneously rejected traditional styles in favor of new, organic
forms that emphasized humanity's connection to nature.

A liberal combination of materials—ironwork, glass, ceramic, and brickwork—was employed

This approach was directly opposed to the traditional architectural values of reason and clarity of
structure.
ART NOUVEAU ARCHITECTURE

FEATURES

Art Nouveau buildings have many of these

features:

• Asymmetrical shapes
• Extensive use of arches and curved
forms
• Curved glass
• Curving, plant-like embellishments
• Mosaics
• Stained glass
• Japanese motifs
PROMINENT ARCHITECTS & DESIGNER

Antonio Gaudi, Spain

Charles Rennie Mackintosh, United Kingdom

Victor Horta, Belgian Architect

Otto Wagner , Austrian Architect

Louis Henry Sullivan, American Architect

 Stephan Tschudi Madsen(Art Historian) proposed a subtle Classification of
Art Nouveau architecture:
In his book Sources of Art Nouveau, he describes four styles:

1. An abstract, structural style with a strong 2. A floral approach focuding on

symbolic and dynamic tendency (France organic plant forms
& Belgium) (Galle, Majorelle, Vallin)
(Horta, Guimard, Van de Velde)

Henry Van de Velde’s house Aquarium Pavillion

3. The linear, flat approach, with a heavy 4. A structured, geometric style (Austria &
symbolic element Germany)
(Glasglow group, Mackintosh) (Wagner, Olbrich, Hoffmann, Loos)

Glasgow School of Art Majolikahaus in Vienna

by Charles Rennie Mackintosh by Otto Wagner
6. Rich floral decorated entrance made of cast Iron by Louis SUlivan
ART NOUVEAU ARCHITECTS
AND THEIR WORKS
Antonio Gaudi
(Architect, Barcelona)
•Gaudi was a Spanish (Catalan)
Architect who created complex
buildings in that the architecture
was considered sculptural as well.
•His buildings are considered
biomorphic, or organically-shaped.
This is possibly a rejection to the
coldness that a machine-produced
geometric object would create
Casa Milà Casa Battlo La Sagrada Familia
Barcelona, Catalonia, Spain Barcelona, Spain (The Holy Family)
1905-1907 1905-1907 Barcelona, Catalonia, Spain
1882-2026
Casa Mila , Spain by Antonio Gaudi
CASA MILA
•With its undulating façade and surrealist sculptural
roof, Antoni Gaudi’s Casa Milà appears more
organic than artificial, as if it were carved straight
from the ground.

•Known as La Pedera, the quarry, the building was

inspired by the Modernista movement, Spain’s
version of Art Nouveau.

•Constructed in 1912 for Roser Segimon and Pere

Milà, the building is divided into nine levels:
basement, ground floor, mezzanine, main floor, four
upper floors, and attic.

•The ground floor acted as the garage, the

mezzanine for entry, the main floor for the Milàs,
and the upper floors for rent.

•The building surrounds two interior courtyards,

making for a figure-eight shape in plan.
•On the roof is the famous sculpture terrace.

•Practically, it houses skylights, emergency stairs,

fans, and chimneys, but each function’s envelope
takes on an autonomously sculptural quality which
has become a part of the building itself
 •The Casa Milà, which was ultimately a
•Structurally, the building is controversial building, contributed greatly
divided between structure to the Modernista movement and
and skin. modernism as a whole.
•The stone façade has no •It pushed formal boundaries of
load-bearing function. rectilinearity and, as Gaudi intentionally
drew from natural and organic forms for
•Steel beams with the same the building’s shape, significantly inspired
curvature support the practices of biomimicry.
facade’s weight by attaching
to the structure. This
allowed Gaudi to design the
façade without structural
constraints, and ultimately
enabled his conception of a
continuously curved façade.

•The structure holding up

the roof, too, allows for an
organic geometry.
Composed of 270 parabolic
brick arches of varying
height, the spine-like rib
structure creates a varied
topography above it.
Casa Mila
Sagrada Família, Church, Spain
The central nave soars to a height
of 45 meters, and is designed to
resemble a forest of multi-hued
piers in Montjuïc and granite.

The piers change in cross section

from base to terminus, increasing
in number of vertices from
polygonal to circular.

The slender, bifurcating columns

draw the eye upward, where light
filters through circular apertures in
the vaults.

These are finished in Venetian glass

tiles of green and gold, articulating
the lines of the hyperboloids.
Victor Horta

(Belgian architect and

designer)
(January 6, 1861 - September 8 1947)
Hotel
Tassel
Brussels, Belgium
Construction started 1893
Completed 1894
(1st Art Nouveau Building in the World)
Stairway of Tassel House, Brussels
Hôtel
Solvay
Brussels, Belgium
Construction started 1898
Completed 1900
Beginning of Art Deco style

When the Art Nouveau fell out of fashion in 1920 and 1930 , It was replaced by the clean simple
geometric of ART DECO STYLE

The extravagant curves of Art Nouveau were seen as old fashioned and viewed with contempt.
 Assignment

1.Explain in brief the evolution of Modern Movement building with the examples of Modern
building Masters.

2. Exaplain is Chicago school of Architecture. Explain with example of Louis Sullivan works.

3. Explain art and craft movement. Explain with example of WILLIAM MORRIS’ RED HOUSE
building. Name the architects who where the proponent.

4. Explain Art Nouveau style with the example of Casa mila building of Antonio Gaudi.
Name the architects who contributed for the style.