Bridgewater Review
Volume 3 | Issue 1 Article 12
Dec-1984 Cultural Commentary: The American Arts and Crafts Movement (c. 1880-1920) Roger T. Dunn Bridgewater State College, [email protected]
Recommended Citation Dunn, Roger T. (1984). Cultural Commentary: The American Arts and Crafts oM vement (c. 1880-1920). Bridgewater Review, 3(1), 23-27. Available at: http://vc.bridgew.edu/br_rev/vol3/iss1/12
This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Research Notes continued
theory with its cost benefit analysis, the mes sage is the same -- human beings choose always to act in their own self-interest. Capi talism, of course, rests upon the identical The American Arts and assumption. In fact, the market system would not work unless people acted on the basis of Crafts Movement (c. 1880-1920): enlightened self-interest. Hence it serves the market to indoctrinate students with the Its Promise For A Better Life In belief that everyone acts on the basis of self interest, and furthermore that it is virtuous The New Twentieth Century /'1' Roger T: Dunn to do so. A 5SUl iate Prqfessor of 1rl The market is served again when psychology transforms wants into needs. Most of what psychology has taught us to In the last quarter ofthe nineteenth century In America the leading exponents of Arts call needs are not necessities but rather there developed in. Europe and America a and Crafts design and social philosophy things that we merely want or desire. By new style in the decorative arts known as the were Elbert Hubbard, who founded the calling them needs we convince ourselves Arts and Crafts movement. It rejected the Roycroft Community of craft workshops in not only that we must have these things, but excesses, pretense and formality of Victorian East Aurora, New York, and Gustav Stickley, what is more, that we are entitled to them. style homes and furnishings. It also found who established a furniture firm and architec Wants and desires are under voluntary fault with mass-produced objects in which tural enterprise near Syracuse, New York. control. You can decide to want somethinga the design and application of machine-made They preached an approach to design that little less if it is not immediately attainable. furnishings showed little regard for func was followed by many others, including But needs are not to be denied. You are a tion, sturdy construction, pleasing propor Stickley's five brothers who also set up their passive victim of your needs. If you need tions, the natural beauty of materials or the own companies. The ideas and designs of something, you are condemned to suffer skills of hand-craftsmanship. Hubbard and Stickley were promulgated by their respective magazines, The Philistine until you get it. Such attitudes ofcourse play The new style, fathered by William Morris and The Craftsman. as well as in other right into the hand of the advertising in England, was concerned with the social widely circulated pUblications. industry whose job it is to create in the issues ofindustrial life, and sought to improve buying public more and more needs for the lifestyle of the average family living in That philosophy and lifestyle remain so more and more products. They want us to the burgeoning urban environment. Increas much a part of our present world that we believe that we have a need for their ingly, people served in factories, but were scarcely think of associating them with the products, better still, that we have a right to little served in return by factory-made objects now historic objects of the Arts and Crafts their products. "You owe it to yourself," or factory life. Morris and other leaders of period. Forexample, the movement promoted they tell us, "to use the very best.""You need the movement felt that the traditional virtues the idea of suburban living to allow city this car!" Nissan Sentra blatantly an of self-esteem, pride in work, family and workers to stay in contact with the land and nounces. To the extent that psychology community values could be re-established enjoy the healthier country environment. textbooks proclaim a scientific foundation by surrounding the average person with Throughout the nation, suburban homes for the notion that we are a bundle of needs, objects and an environment that expressed and neighborhoods still bear witness they pander for an economic system that integrity, honesty, and purposefulness in to their origins in the realization of this ideal survives by selling more and more throw design and function. as well as in the design aesthetic of the away products to fewer and fewer continued on Page 26 consumers. Finally the market is served by a psychology that takes as its aim the prediction and control of behavior. This fetish of predictability is a phenomenon of the last fifty years or so, ofthe second halfof psychology's century-long existence. And it is a typically American phenomenon. The founders of our discipline were not concerned with prediction and control. There are many other entirely worthy goals for a science of psychology. But in America psychology has been coopted by the market system -- a system that prospers or crashes depending upon the accuracy of its predictions. The business of Wall Street is prediction. Since textbooks announce the business of psychology to be the same, may we not be permitted to speculate that they are in business together, with psychology of course being a subsidiary division of Wall Street. L;"';ng Room by The Unitea Crafts 23 ~ ~ ...... ~ ~ .,., I'. >: ... -<:>'" '" 0 ""0 Cl:; Cl:; -<:>""' ""' 0 ""0 0 0 -t: -t: Q.., Q..,
Oval-Top Table, circa 1912 Charles P. Lambert Co., Grand Rapids and Holland Michigan Vase, circa 1905 Oak - height, 29"; width. 48"; depth, 19'//' - Private Collection Adelaide Alsop Robineau, Syracuse. New York POllery, yellow with blue crystalline glaze - height 4'//' Collection by Robert Toke and Roger Wilson
- SellIe, circa 1910 L. & 1. G. Stickley Furniture Company Fayelleville. N. Y. Oak wah leather cushions; height. 34"; width. 76"; depth, 31" - Collecrion of Dennis Mirchell and Ann Sweet
24 Server, 1901 - Gustav S/lcktey, Craftsman Workshops, Eastwood (Syracuse), N. Y. Oak; height, 37"; width, 60"; depth, 16 1/1" Collection of Paul Fiore, Backyard Gallery
~ <::s :so ;;: -e '"Q <:t:: ,., ;;;- ~... ::s Q <> ~ ..,§-... Q 0 ~ Q..
Desk, circa 1905 Roycrofr Shops, East Aurora, New York 1 Mahogany; height, 40'/z"; width, 40"; depth, 26 //' Col/ection of Raben L. Conanr Williams, - Craftsmen Gallery, Inc.
"A merican BeaLlty" 'Vase, circa 1911 Roycroft Copper Shop, Easy Aurora, N. Y. Copper; height, 12'/z"; diameter, 6" Colleerion of Roger L. Conanr Williams Crafrsmen Gallery, Inc.
25 The CraJismm~ Mal" 1903 A I.IRRARY 1:-/ AI> ORDll'ARY HOl;SE FITTEU COMPLETELY WITH CRAFT~~lA:< FL'R: movement. Further, it was believed that those made of copper, brass or even bronze, more pleasant, lighter, and closer to family each family should own its own home -- a whose natural warm tones were seen to activity. situation that would contribute to the develop particularly complement the oak -- a wood With its aim of improving the lifestyle of ment ofself-esteem, responsibility and various often used in the simple woodwork and the ordinary individual, it is no surprise to other desirable character traits. floors as well as the furnishings. Copper discover that the Arts and Crafts movement especially was liberally used for hardware Houses were designed to meet the needs of considered itself a "democratic art", a label and accessories ofall kinds, including smoking families without extravagant space and which takes on more meaning when it is sets, bookends, candlesticks, and the like. ornamentation; simplicity, economy, comfort, realized that art and taste were viewed as the and "hygiene" (cleanliness achieved through A select display of pottery by such firms as exclusive domains of the monied classes at ease ofmaintenance) were important. Innova Rookwood, Marblehead or Grueby, or ceramic the turn of the century. The socialist William tions in house plans featured kitchens located tiles incorporated into room decoration, Morris first expounded the need for a demo close to dining areas, and the latter sometimes particularly around the fireplace were the cratic art in 1877, and the Arts and Crafts combined with the open space of the living only reminders of the extravagant displays movement developed to serve the middle room. In turn, the living room, with the of diverse objects of the typical Victorian class. Similarly, Gustav Stickley "realized fireplace as its focus, was the center offamily interior. Walls, usually painted in subdued that the twentieth century, then a few years activity. The Victorian parlor, associated or greyed hues, were often partly wainscoted distant, was to be, like the thirteenth, distinc with a stuffy formality and crusty appoint and further elaborated with various kinds of tively an Age of the People." His perception ments oflittle necessity (but voracious collectors built-ins, including bookcases, inglenooks, of who would dominate the new century of dust), vanished along with carved wood window seats, and china cabinets. affected his concept of what he called the work and high ceilings. Intimacy, comfort, Rarely wallpapered, pattern was often intro Craftsman home, just as he hoped the Crafts and informal living shaped the plans of the duced on walls with a stenciled border near man home would help to shape and reinforce Arts and Crafts homes, where subdued earth the ceiling. the values and tastes of its inhabitants: colors and the natural hues and textures of materials replaced the heavy ornamentation The Arts and Craf.ts home consciously But they in whose interest I make my plea for a and busy patterns of wallpapers, upholsteries, looked ahead to twentieth century living. It democratic household art, constitute the and draperies of the earlier styles. majority of our American people. They are the was clearly understood, for example, that busy workers, "troubled about many things:" Native materials were used because they the modern home should be designed for a professional people; men and women of were available, inexpensive, and sturdy. Amer household in which servants were rare, but business; toilers who reach out after objects of ican oak was preferred for the furniture. in which the wife and mother should not beauty and refinement, as if they were the flowers of a "Paradise Lost." They are the real Upholstery was normally leather in black or become a slave to domestic chores such as Americans, deserving the dignity of this new brown, or linen in its natural color. Both dusting an assortment of useless bric-a-brac, name, since they must always provide the were used for table coverings. Chair seats or polishing the extravagant curlicues of brawn and sinew of the nation. They are the were also done in rush. Linen, both canvas furniture or metalwork. It was even recog middle classes possessed of moderate culture and sheer or net, was found at the windows nized at times that she might have respon and moderate material resources, modest in scheme and action, average in all but virtues as well, usually bordered with needlework, sibilities outside of the home. In any case it is called upon to meet stern issues, they have applique and stenciled patterns of abstract notable that the improvement of the wo remaining little leisure in which to study or stylized motifs. These materials replaced man's role within the home was a concern of problems of other and milder natl!re. But as the exotic woods, marble tops and mantles, various architects, craftsmen and writers offering such great and constant service, these same middle classes should be the object of and fabrics ofdamask, brocade and lace that associated with the Arts and Crafts move solicitude in all that makes for their comfort, were still popular elsewhere. Similarly, crys ment who sought ways to reduce her work their pleasure and mental development. For tal and gilt lighting fixtures gave way to load and make her working environment them art should not be allowed to remain as an 26 object of consideration for critics. It should Roycroft or other pioneers of the style. The cost of materials and ornament were no be brought to their homes and become for democratic and educative tendencies of the longer important factors in judging the aes them a part and parcel of their daily lives. thetic quality of furnishings and design. A simple, democratic art should provide movement resulted in the liberal dissemina them with the material surroundings con tion ofideas, designs and technical informa Finally, creative endeavor was expanded ducive to plain living and high thinking, to tion for virtually every area of Arts and well beyond the domain of the professional the development of the sense of order, Crafts activity: architecture, furniture con artist, architect or professional artisan. As symmetry and proportion. (The Crafts struction, lamp making, fabric or leather mentioned, in many different ways the aver man, Vol. VII, No.2, October 1904) decoration, metalwork, etc. Designs were age man and woman were encouraged and Stickley's Craftsman home was the para- published in The Craftsman, Popular Mech enticed to participate in the aesthetic of the gon of the Arts and Crafts house. Simul anics, and other magazines or books, or they movement. Art was no longer believed to be taneously, Frank Lloyd Wright along with could be purchased from some of the manu separate from the vital and everyday aspects other architects of the Prairie School, and facturers. Since the designs were often sim of life; instead, art -- as it expressed itself in various Southern California architects led ple --many were specifically created for the good design -- offered means for the better by Charles and Henry Greene, were creating amateur -- it was possible for a person to ment of life, and contributed to an individu a residential architecture with these same build and furnish his own home, or at least al's physical, mental and moral wellbeing. characteristics, on the highest level of archi take on a project or two during spare time. Boldly recognizing that the new twentieth tectural expression and interior design. Such handcraftsmanship was fostered with century would be different from the old era Meanwhile, the ideal of the Arts and in the Arts and Crafts' philosophy as leading in terms of social structure, economics, and Crafts home was adapted and popularized in to an appreciation of good design through thejob and home life of men and women, the the "bungalow" by such men as Henry L. hands-on experience with materials and craft exponents of the Arts and Crafts movement Wilson of Chicago, who wrote The Bun skills. set our course in lifestyle and design and, in galow Book, A Short Sketch ofthe Evolu the process, left a heritage of sturdy and tion of the Bungalow from its Primitive ... one of the greatest proud objects that express the modern spirit. Crudeness to its Present State of Artistic The fundamental theories and design ap Beauty and Cozy Convenience, l/lustrated legacies of the Arts and ('rafts proach of the Arts and Crafts style were with Drawings of Exteriors, Floor Plans, movement was the way it con continued in the design philosophy articu Interiors, and Cozy Corners of Bungalows lated and put into practice by the influential Which have been builtfrom Original Design. tributed to breaking down the German Bauhaus and its disciples, with This book met with such success that it was barriers that restricted important impact on American design with in its fifth edition within three years after its art and taste. in a few years after the decline of the Arts publication in 1910. The bungalow was the and Crafts style. Indeed, though the Bau forerunner ofthe modern ranch house. They haus is generally credited with the develop Moreover, the work ethic prevailed, and share many features including a widespread ment and dissemination of what is regarded manual labor was regarded as wholesome role in American life. Like today's ranch as a characteristically twentieth century ap for the development and well-being of an house, the bungalow was usually one-story proach to design, its principles are to be individual. Most important in the spread of with a low-pitched roof. Its two-story coun found in the earlier Arts and Crafts move Arts and Crafts knowledge and skills were terpart was called a "Foursquare." Sears and ment. Both believed in the honest expression the local arts and crafts societies, schools, Roebuck alone sold tens of thousands of of the natural beauty of materials, and in summer camps, and similar organizations, both types of houses by mail-order from products that emphasize function over form, which provided training programs and spon 1909 to 1937 under the name of "Honor but in which form is carefully considered sored lectures on many topics, including Bilt." All materials necessary for construc and treated in simple, well-proportioned craft techniques and design. The Chautau tion -- including lumber, millwork, roofing, designs without applied ornament. Above qua Institutions' Summer Assemblies form a plumbing, heating systems, lighting, paints all, both advocated a coordinated approach prime example of a program developed and varnishes, r'oofing, hardware, and (if so to the decorative arts and architecture to along Arts and Crafts lines, concerned as it ordered) even the furniture and rugs -- were create environments aimed at promoting a was with social issues, education and man shipped by railroad with thorough instruc "modern" lifestyle of uncluttered efficiency, ual training. tions for building. The bungalow and four cleanliness, and beauty through design in square expressed the Arts and Crafts style in In the final analysis, one of the greatest tegrity. The Arts and Crafts movement its simple, honest use of materials which, on legacies of the Arts and Crafts movement shared an interchange ofideas -- and at times the exterior, consisted of some combination was the way it contributed to breaking down overlapped -- with the contemporaneous of stucco, shingles, clapboacd and field the barriers that restricted art and taste. The movements of the Vienna Secession, Ger stones, and the prominent features of broad aesthetic and moral values newly ascribed to man Jungendstil, and the Art Nouveau of porches and overhanging roofs. Affordable the decorative arts had been previously France, Belgium and Britain (including the and easily constructed, they succeeded in reserved only for painting and sculpture. Glasgow School). These in turn were instru realizing the Arts and Crafts goal of provid Also, because of the way the decorative arts mental in the realization of the Bauhaus ing well-built, comfortable homes of honest serve environmental and utilitarian needs, style. Thus, with the Arts and Crafts move design to the average American family. they were regarded as a sure way ofexposing ment we find the formulation and first The Arts and Crafts movement became the average individual within his or her expression of the modern design philosophy popularized in many areas beyond house home to works of good design and sensibil that has prevailed throughout the twentieth design. This was especially true toward the ity representing high levels of creativity, century. And today, no less than a century end of the stylistic period in the 19lOs and technical skill, and use ofbeautiful materials. since their origins, these principles are more 1920s. Virtually every furniture manufac As the Arts and Crafts movement gained influential than ever in determining the look turer began to offer their own lines of "mis momentum and the Gilded Age or "Ameri of our environments and furnishings, shap sion" furniture, styled in the manner of Gus can Renaissance" came to an end, the upper ing our tastes, and thus determining the tav Stickley's Craftsman furniture, or that of classes lost their monopoly on taste since values we maintain and the very way we live. 27