Common Goals for Arts and Crafts & Bauhaus Movements

Some who adopted the straightforward ideas and aesthetic techniques of the movement, such as Frank Lloyd Wright, "positively relished the creative and social rewards of machine production." The several offshoots with the movement all shared, however, 1 simple principle, first elucidated by the British designer William Morris, and then "repeated often thereafter" by any person associated with the movement's various phases. This thought was that "all objects, even the humble everyday items we use, have artistic potential" and our entire constructed environment, home and jobs spaces, "could be created into art, with built-in furniture along with other housewares all formulated from a single issue of view by the same hand or sympathetic collaborators." This sort of an overall consistency of aesthetic and stylistic procedure was important to both movements.

The Arts and Crafts Movement was founded in reaction for the ugliness of machine-made and mass-produced goods and also the founders on the movement thought it was essential to replace these objects with things of beauty. The Arts and Crafts advocates always looked back towards the example with the Middle Ages like a time that, in their imaginative recreation, out there a refreshing and vital contrast on the "crass and spiritually vacuous utilitarian" spirit that infused their own industrializing age. In medieval times, the argument went, the person craftsman was responsible.

 

Gropius, Walter. "The Theory and Corporation in the Bauhaus." In Bauhaus 1919-1928, ed. Herbert Bayer, Walter Gropius and Ilse Gropius, 20-29. New York: Museum of Modern day Art, 1959.

Naylor, Gillian. The Bauhaus. New York: Studio Vista-Dutton, 1968.

Janson, H. W. History of Art. 4th ed., revised and expanded by Anthony F. Janson. New York: Harry N. Abrams, 1991.

Adams, Steven. The Arts and Crafts Movement. London: Chartwell-Quintet, 1987.

In accepting the inevitability of the industrial age, Gropius turned to an additional medieval illustration from that which interested the early Arts and Crafts people. He thought that in working together, as most men and women must do inside the twentieth century, the type being looked to was that in the crafts guilds and also the groups of workers who have been employed, anonymously, over a construction with the cathedrals in the Middle Ages. It was "the corporate procedure to design and architecture which implies teamwork, standardization and modular co-ordination" that interested Gropius. So long as Bauhaus students were taught sound principles of design, they would produce objects that, even as soon as they were produced in factories, had been beautiful and useful. It was at this factor that the standards with the craftsmen of earlier times became important. Fundamentally, Gropius believed that training students as craftsmen were trained was an appropriate ways of preparing them "for designing for mass production." They would jobs together during the learning procedure and also the traditions of excellence would be passed on to subsequent generations in much the exact same manner how the medieval guilds had passed on such knowledge and standards. In addition, the Bauhaus also sought "contacts with existing industrial enterprises" in order to permit students "to extend their technical experience [and] to consider, in carrying out their work, the unavoidable wants which market makes over a person to economize on time and means."

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