Redesigning the World: William Morris, the 1880s, and the Arts and Crafts

1985 ◽  
Vol 90 (5) ◽  
pp. 1200
Author(s):  
Janet Oppenheim ◽  
Peter Stansky
1987 ◽  
Vol 28 (3) ◽  
pp. 694
Author(s):  
Jane Morley ◽  
Peter Stansky

1987 ◽  
Vol 17 (3) ◽  
pp. 661
Author(s):  
Peter d'A. Jones ◽  
Peter Stansky

2002 ◽  
Vol 61 (1) ◽  
pp. 83-113 ◽  
Author(s):  
William S. Atwell

During the fifteenth century, especially during its middle decades, “almost all parts of the then-known world [i.e., Europe, the Middle East, and the economically advanced regions of Asia] experienced a deep recession. By then, the ‘state of the world’ was at a much lower level than it had reached in the early fourteenth century. During the depression of the fifteenth century, the absolute level of inter-societal trade dropped, currencies were universally debased (a sure sign of decreased wealth and overall productivity), and the arts and crafts were degraded” (Abu-Lughod 1993, 85; see also Lopez and Miskimin 1962; Lopez, Miskimin, and Udovitch 1970; Postan 1973, 41–48; Wallerstein 1974, 21–38; Munro 1998, 38–39). In much of Eurasia, the worst years of this “depression” probably ended sometime during the 1460s or 1470s. Over the next six or seven decades, economic conditions in many parts of the world improved significantly, reflected in dramatic increases in agricultural and handicraft production; in the volume of interregional and international trade; and, except for the western hemisphere where Afro-Eurasian diseases decimated native populations during the early sixteenth century, in demographic growth.


2018 ◽  
pp. 163-185
Author(s):  
Philipp Erchinger

This chapter seeks to elucidate nineteenth-century conceptions of art as fine art. Taking its cue from Raymond Williams’s account of a divorce of (fine) art from (technical) work, the chapter pursues various attempts to define the aesthetic specificity of the fine arts, including literature in the narrow sense, in relation to other ways of exercising skill, including the use of experimental methods in the sciences. In this way, it seeks to show that the idea of the aesthetic, despite all attempts to purify it, remained deeply entangled in a net of work, in which experiences of pleasure (or beauty) and playfulness had not yet been separated from material practices of making useful things. As is further explained, the idea of a mutual inclusiveness of pleasure and use was pivotal to the arts and crafts movement, especially to the creative practice of William Morris. Finally, the chapter pursues Morris’s concept of “work-pleasure”, as derived from his News from Nowhere, through a wider debate about the complex relations between the sciences and the (fine) arts.


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