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the term art in the public mind. Ignoring the artificial distinction between Fine and
Decorative art, we felt that the real distinction was what we conceived to be between good and bad art, or false and true taste and methods in handicraft, considering it of little value to endeavour to classify art according to its commercial value or social importance, while everything depended upon the spirit as well as the skill and fidelity with which the conception was expressed, in whatever material, seeing that a worker earned the title of artist by the sympathy with and treatment of his material, by due recognition of its capacity, and its natural limitations, as well as of the relation of the work to use and life.
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In the 1930s it became clear to some members that if the
Society was to survive in any form it had to confront the role of the crafts in relation to industry and the place of machinery in craft production. The Society's 1935 exhibition introduced a section devoted to mass-produced articles designed
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on its planned opening day—proved to be its most influential. The 1899 exhibit featured a Morris retrospective. Another successful exhibition was held in 1903, but the
Society suffered organizational problems in the new century, with the exhibitions of 1906, 1910, 1912 and 1916 each being held in a
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We desired first of all to give opportunity to the designer and craftsman to exhibit their work to the public for its artistic interest and thus to assert the claims of decorative art and handicraft to attention equally with the painter of easel pictures, hitherto almost exclusively associated with
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The
Society continued to exhibit periodically until the 1950s and many eminent craftsmen and women were associated with it. In 1960, it merged with the Cambridgeshire Guild of Craftsmen to form the Society of Designer Craftsmen, which is still active.
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by craftsmen to demonstrate the influence the crafts could have on industry, which brought its exhibitions to the notice of the press again. This move was controversial within the
Society and led to some resignations.
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Annual exhibitions were held at the New
Gallery in 1888, 1889, and 1890, but the third exhibition failed to match the quality of the first two, and was a financial disaster.
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succeeded Crane as president in 1891., and the
Society thereafter chose to reduce the frequency of showings in order to ensure an abundance of materials to display.
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was president from 1915 to 1922, but the exhibitions failed to recover the critical and artistic success of the 1890s. In 1915,
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The fourth exhibition, held in 1893, was far more successful, and the fifth exhibition of 1896—although clouded by the death of
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143:, an influential collection of essays on the decorative arts by its members, in 1893. Contributors included Morris, Crane,
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and other members, recognising the limitations of the
Society's devotion to craft methods of production, set up the
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served as the founding president of the
Society for its first three years. Of its goals and purposes, he wrote:
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from 1888 to 1890, and roughly every three years thereafter, were important in the flowering of the
British
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304:"Interpreting Ceramics : issue 16 - Dora Bilington: From Arts and Crafts to Studio Pottery"
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alongside fine arts. The Society's exhibitions were held annually at the
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different location. Crane died in 1915, and architect and designer
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To promote the exhibition of decorative arts alongside fine arts
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William Morris and the Arts and Crafts Movement: A Sourcebook
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was formed in London in 1887 to promote the exhibition of
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to improve the standards of British industrial design.
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Ideals In Art: Papers Theoretical Practical Critical
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483:Organisations based in the City of Westminster
438:Works by Arts and Crafts Exhibition Society
387:, Thames and Hudson, revised edition 2005,
385:Textiles of the Arts & Crafts Movement
215:Crane, "Of the Arts and Crafts Movement"
289:"Arts and Crafts at Burlington House",
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20:Arts and Crafts Exhibition Society
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366:"Of the Arts and Crafts Movement"
173:Design and Industries Association
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421:(1854–1907). English embroiderer
341:"Society of Designer Craftsmen"
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468:Arts and Crafts movement
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107:in the decades prior to
105:Arts and Crafts Movement
291:The Manchester Guardian
364:Crane, Walter (1905).
328:The Creative Craftsman
293:, 4 November 1938, p.5
145:T. J. Cobden-Sanderson
141:Arts and Crafts Essays
139:The Society published
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419:Mary Elizabeth Turner
280:Parry 2005, pp. 89-92
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199:Parry 1989, p. 12-13
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262:Parry 2005, p. 71
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84:Walter Crane
59:Headquarters
478:British art
109:World War I
101:New Gallery
63:New Gallery
457:Categories
376:2008-12-09
358:References
346:2008-12-09
313:2017-12-10
249:2008-12-09
153:May Morris
25:Formation
442:LibriVox
413:See also
65:, London
115:History
51:Purpose
33: (
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151:, and
80:Leader
187:Notes
403:ISBN
389:ISBN
91:The
43:Type
35:1887
28:1887
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