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    Ideals in Art: Papers Theoretical, Practical, Critical
    Ideals in Art: Papers Theoretical, Practical, Critical
    Ideals in Art: Papers Theoretical, Practical, Critical
    Ebook288 pages2 hours

    Ideals in Art: Papers Theoretical, Practical, Critical

    By Walter Crane

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    DigiCat Publishing presents to you this special edition of "Ideals in Art: Papers Theoretical, Practical, Critical" by Walter Crane. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
    LanguageEnglish
    PublisherDigiCat
    Release dateAug 15, 2022
    ISBN8596547173274
    Ideals in Art: Papers Theoretical, Practical, Critical
    Author

    Walter Crane

    Walter Crane (1845–1915) was an English artist, book illustrator, and one of the most influential children’s book creators of his generation. Crane produced not only paintings and illustrations for children's books, but also ceramic tiles and other decorative arts. From 1859 to 1862, Crane was apprenticed to wood-engraver William James Linton and had the opportunity to study works by many contemporary artists, including Sir John Tenniel, the illustrator of Alice’s Adventures in Wonderland and Through the Looking-Glass.

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      Book preview

      Ideals in Art - Walter Crane

      Walter Crane

      Ideals in Art: Papers Theoretical, Practical, Critical

      EAN 8596547173274

      DigiCat, 2022

      Contact: DigiCat@okpublishing.info

      Table of Contents

      PREFACE

      IDEALS IN ART

      OF THE ARTS AND CRAFTS MOVEMENT: ITS GENERAL TENDENCY AND POSSIBLE OUTCOME

      OF THE TEACHING OF ART

      OF METHODS OF ART TEACHING

      OF THE INFLUENCE OF MODERN SOCIAL AND ECONOMIC CONDITIONS ON THE SENSE OF BEAUTY

      OF THE SOCIAL AND ETHICAL BEARINGS OF ART

      OF ORNAMENT AND ITS MEANING

      THOUGHTS ON HOUSE-DECORATION

      OF THE PROGRESS OF TASTE IN DRESS IN RELATION TO ART EDUCATION.

      OF TEMPORARY STREET-DECORATIONS

      OF THE TREATMENT OF ANIMAL FORMS IN DECORATION AND HERALDRY

      OF THE DESIGNING OF BOOK-COVERS

      OF THE USE OF GILDING IN DECORATION

      OF RAISED WORK IN GESSO

      THE RELATION OF THE EASEL PICTURE TO DECORATIVE ART

      A GREAT ARTIST IN A LITERARY SEARCHLIGHT

      INDEX

      PREFACE

      Table of Contents

      The collected papers which form this book have been written at different times, and in the intervals of other work. Most of them were specially addressed to, and read before the Art Workers’ Guild, as contributions to the discussion of the various subjects they deal with; so that they may be described as the papers of a worker in design addressed mainly to art workers. They are not, however, wholly or narrowly technical, and the point of view frequently bears upon the general relation of art to life.

      Some of the papers were delivered as lectures to larger audiences, and others have appeared as articles, mostly in journals devoted to art.

      Of the former, the one upon the Arts and Crafts movement was prepared for and read as one of a series of lectures given during a recent exhibition of the Arts and Crafts Exhibition Society, and is now for the first time printed in its entirety.

      The Thoughts on House-Decoration was read before the convention of the National Association of Master Painters and Decorators recently held at Leicester.

      The Influence of Modern Social and Economic Conditions on the Sense of Beauty was the substance of an address at the opening of a debate on that question at a meeting of the Pioneer Club.

      The paper on The Progress of Taste in Dress was written for The Healthy and Artistic Dress Union, and appeared in their journal Aglaia. The article on Mr. Chesterton’s book appeared in The Speaker; that on The Teaching of Art in The Art Journal.

      The notes on Gesso work appeared in an early number of The Studio, and I have to thank the editor, Mr. Charles Holme, for kindly allowing me to reprint it here, and also for the loan of the blocks used for the illustrations, both for this and others of the papers.

      My best thanks are also due to Mr. Ernest Gimson for the loan of photographs of his cottage at Stoneywell; to the Earl of Pembroke for enabling me to obtain those of the double cube room at Wilton; to Mr. Charles Rowley, and Mr. Charles W. Gamble of the Municipal School of Technology, Manchester, for photographs of the Madox Brown frescoes; to Mr. Augustus Spenser and Mr. FitzRoy, the Principal and the Registrar of the Royal College of Art, for their help in obtaining for me the examples of the work of the students given; and to Mr. Arthur P. Monger for the care he took in photographing them; also to Mr. Kruger of the Royal College, for the use of his admirable drawing of the decorations of Westminster Bridge, which appeared in The Magazine of Art, and is now reproduced by permission of Mr. M.H. Spielmann and Messrs. Cassell.

      I should like to add a note or two on some of the illustrations, on other points not commented upon in the papers.

      The sketch plan and elevation of a collective dwelling (at page 116), for which I am indebted to my architect-son, is offered as a suggestion of what could be done in this way on very simple lines. Each tenant in such a collective dwelling would have his private house or cottage, with the advantage of the use of the common dining-hall, and the service of a collective kitchen; also a general reading-room, and to these rooms a vaulted way with an open arcade on the side next the quadrangle would enable each tenant to reach this part of the building under cover from his own dwelling, which comprises a private garden, as well as the use of the common quadrangle.

      From the architectural point of view grouped dwellings, upon some such principle as here suggested, would undoubtedly lend themselves to artistic and pleasant treatment, and would mitigate the depressing effect of the monotonous rows of squat dwellings intended for our workers’ homes, and the mean sameness of the streets, which are spreading around our great towns in every direction, only, it is to be feared, to form slums in the future.

      In regard to Manchester, spoken of on page 119, another practical step has been taken in the much-needed direction of school-decoration. Through the public spirit of Mr. Grant, one of her citizens, who has found money enough to start the work, students of the Municipal School of Art are enabled to carry out on a large scale mural paintings upon the upper walls of the class-rooms in one of the principal primary schools. The subjects have been enlarged from some of my coloured book designs such as Flora’s Feast. Such work might not only be made to bear most helpfully on the general work of education, but in itself be an important side of school influence, since by means of large simple typical mural designs great historical events and personages, as well as natural form, might be made familiar to the eyes of children at the same time that their sense of beauty and imaginative faculties were appealed to.

      Local history might in this way be preserved also. In this connection one was glad to see the other day at Hoxne (the ancient Eagles-dune) in Suffolk the school-house connected with the history of the place by having a figure of St. Edmund carved as a finial of the chief gable, with a relief in stone let into the wall beneath, illustrating the incident of the saintly king being taken by the Danes at the bridge, while an inscription mentions that the building marks the spot, and the date of his death in 870.

      WALTER CRANE.

      YEW TREE FARM,

      September, 1905.

      IDEALS IN ART

      OF THE ARTS AND CRAFTS MOVEMENT: ITS GENERAL TENDENCY AND POSSIBLE OUTCOME

      Table of Contents

      It seems a strange thing that the last quarter of the nineteenth—or what I was going to call our machine-made—century should be characterized by a revival of the handicrafts; yet of the reality of that revival there can now be no manner of doubt, from whatever point we date its beginnings, or to whomsoever we may trace its initiation.

      Indeed, it seems to me that the more we consider the characteristics of different epochs in the history of art, or of the world, the less we are able to isolate them, or to deal with them as phenomena by themselves, so related they seem to what has gone before them, and to what succeeds them, just as are the personalities associated with them; and I do not think this movement of ours will prove any exception to this rule.

      Standing as we do on the threshold of a new century—which so often means a new epoch in history, if not in art—it may, perhaps, be allowable to look back a bit, as well as forward, in attempting a general survey of the movement. Like a traveller who has reached a certain stage of his journey, we look back over the region traversed, losing sight, in such a wide prospect, and in the mists of such a far distance, of many turns in the road, and places by the way, which at one time seemed important, and only noting here and there certain significant landmarks which declare the way by which we have come.

      To take a very rapid glance at the phases of decorative art of the past century, we see much of the old life and traditions in art carried on from the eighteenth century into the early years of the nineteenth, when the handicrafts were still the chief means in the production of things of use or beauty. The luxurious excess of the later renascence forms in decoration, learned from France and Italy (though adopted in this country with a certain reserve), corrected by a mixture of Dutch homeliness, and later by French empire translations of Greek and Roman fashions in ornament, often attained a certain elegance and charm in the gilded stucco mirror frames and painted furniture of our Regency period, which replaced the more refined joinery, veneer, and inlaid work of Chippendale and his kinds.

      Classical taste dominated our architecture, striving hard to become domesticated, but looking chilly and colourless in our English gray climate, as if conscious of inadequate clothing.

      This Greco-Roman empire elegance gradually wore off, and turned to frigid plainness in domestic architecture, and to corpulency in furniture, as the middle of the century was approached, when the old classical tradition in furniture, handed on from Chippendale, Sheraton, and Hepplewhite, seemed to be suddenly broken into by wild fancies and fantastic attempts at naturalism in carving, combined with a reckless curvature of arms and legs supporting (or supported by) springs and padding. Drawing-rooms revelled in ormolu and French clocks, vast looking-glasses, and the heavy artillery of polished mahogany pianos, while Berlin-wool-work and anti-macassars in crochet took possession of any ground not occupied by artificial flowers, and other wonders, under glass shades.

      The ’51 Exhibition was the apotheosis of mid-nineteenth century taste, or absence of taste, perhaps. The display of industrial art and furniture then, to judge from illustrated catalogues and journals of the period, seemed to indicate that ideas of design and craftsmanship were in a strange state. The new naturalism was beginning to assert itself, but generally in the wrong place, and in all sorts of unsuitable materials. Those were the days when people marvelled at the skill of a sculptor who represented a veiled figure in marble so that you could almost see through the veil!—but that was Fine Art. Industrial art was in a very different category, yet it was influenced by fine art, and, generally, greatly to its disadvantage. We had vignetted landscapes upon china and coalboxes, for instance, and Landseer pictures on hearth-rugs—and our people loved to have it so.

      These things were done, and more also, in the ordinary course of trade, which flourished exceedingly, and no one bothered about design. If furniture and fittings were wanted, the upholsterer and ironmonger did the rest.

      Yet was it not in the fifties that Alfred Stevens made designs for iron grates? so that there must have been one artist, at any rate, not above giving thought to common things. Designers like Alfred Stevens, and his followers Godfrey Sykes and Moody, certainly represented in their day a movement inspired chiefly by a study of the earlier renascence, and an honest desire to adapt its forms to modern decoration. Their work, though suffering—like all original work—deterioration at the hands of imitators, showed a search for style and boldness of contour and line, touched with a certain refined naturalism which gives the work of Alfred Stevens and his school a very distinct place. It was mainly a sculptor’s and modeller’s movement, and represented a renascence revival in modern English decorative art; and through the work of Godfrey Sykes and Moody, in association with the government schools of art, it had a considerable effect upon the art of the country.

      But I think many and mixed elements contributed to the change of feeling and fashion which came about rather later, in which perhaps may be traced the influence of modes of thought expressing themselves also in literature and poetry, as well as the study of different models in design.

      Page from Blake’s Songs of Experience

      Page from Blake’s Songs of Innocence

      Wood Engravings by

      Edward Calvert

      The Return Home

      Ideal Pastoral Life

      The Chamber Idyll

      Wood Engravings by

      Edward Calvert

      The Flood

      The Lady and the Rooks

      The Brook

      One cannot forget that the early years of the nineteenth century were illuminated by the inspiration and clearness of inner vision were expressed in so individual a form with such fervour of poetic feeling and social aspiration, both in verse and design, in the books engraved and printed by himself which remain the remarkable monument of his neglected genius.

      Illustrations to Tennyson

      The Ballad of Oriana. By Holman Hunt

      The group of artists associated with him, too, such as Edward Calvert and Samuel Palmer, marked an epoch in English poetic illustration, associated with wood engraving and printing, of very distinct character

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