From Splendor to Simplicity: Explaining the Aesthetic Variation of the Arts & Crafts Movement,
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1 From Splendor to Simplicity: Explaining the Aesthetic Variation of the Arts & Crafts Movement, Claude Rubinson Department of Sociology University of Arizona University of Houston-Downtown Houston, TX May 12, 2010
2 Overview Research question: What explains the diversity of artistic styles across the Arts & Crafts movement? Introduction to the Arts & Crafts movement Review of existing sociological models of aesthetics Comparative analysis of Arts & Crafts styles and ideologies Conclusions and implications of the research
3 The Arts & Crafts Movement Began in England, spread to U.S., Western Europe, and as far Russia, Australia, and Japan Advocated both social and aesthetic reform Founders were critical of industrial capitalism and sought to resurrect the Medieval era and its Gothic styles But in the U.S., Frank Lloyd Wright declared The machine is my God.
4 Sociological STUDIES of Cultural Form Rooted in the work of Simmel (1916), Sorokin (193741), and Hauser (1974) Developed by Bergesen (1996, 2006) and Cerulo (1995), based on Bernstein (1964) Regional Strength Syntactic Code Artistic Style Main finding: Stronger societies produce simple cultural forms and weaker societies, complex forms
5 Measuring Organic versus Geometric Style Deg Geo = 0.94 Degree of Symmetry Asymmetric versus Symmetric Degree of Multiplicity Unity versus Multiplicity Degree of Linearity Serpentine versus Linear Degree of Simplicity Ornate versus Simple Deg Geo = 0.0
6 Testing Bergesen & Cerulo Catalog of 2004 LACMA exhibition, The Arts & Crafts Movement in Europe and America: Design for the Modern World UK, US, Germany, Scandinavia, Austria, and Hungary Objects=192, Artists=97 Catalog of 2005 V&A exhibition, International Arts & Crafts UK, US, and Austria Objects=160, Artists=98
7 Regional Style By Regional Strength LACMA Weak Regions Strong Regions Geometric Style Austria U.S. Germany Organic Style U.K. Hungary Scandinavia V&A Weak Regions U.K (0.04) 0.33 (0.03) Hungary 0.31 (0.08) Scan 0.34 (0.04) Austria 0.60 (0.07) 0.57 (0.05) Strong Regions U.S (0.05) 0.54 (0.05) Germany 0.58 (0.05) Bergesen/Cerulo model fails to explain Austria
8 Dominant Ideology By Region Labor Region Democracy Unity Style Backward-looking Regions U.K. Scandinavia Hungary Organic Organic Organic Forward-looking Regions U.S. Germany Austria Geometric Geometric Geometric Regions that valued labor and regionalism produced organic work. Regions that valued democratic design and unifying the arts produced geometric work.
9 The Value of Labor Of primary concern in England, where Morris, Ashbee, and others eschewed industrial fabrication and cultivated nostalgia for the past, expressed politically as socialism. Of secondary concern in the United States and Germany, but see Stickley's The Craftsman, Roycroft, and Byrdcliffe
10 Regionalism and the Vernacular Only principle emphasized in all regions: design should reflect the landscape; use local materials Most important in Scandinavia and Hungary, where it was interpreted as romantic nationalism
11 Democratization of the Arts Of primary concern in U.S. and Germany; mechanization is valued for its cost savings In England, subordinated to (expensive) hand work Dismissed in Vienna
12 Democratization of the Arts Of primary concern in U.S. and Germany; mechanization is valued for its cost savings In England, subordinated to (expensive) hand work Dismissed in Vienna
13 Democratization of the Arts Of primary concern in U.S. and Germany; mechanization is valued for its cost savings In England, subordinated to (expensive) hand work Dismissed in Vienna
14 Unity of the Arts Have nothing in your house that you do not know to be useful, or believe to be beautiful. In UK and US, the goal was to bring beauty to everyday goods In Austria, the goal was to raise the status of applied and decorative arts to that of fine art Vienna Secession (Vienna, 1897) and Wiener Werkstätte (Vienna, 1903) To the Age its Art, To the Art its Freedom Emphasis on the Gesamtkunstwerk Our aim is to create an island of tranquility in our own country, which, amid the joyful hum of arts and crafts, would be welcome to anyone who professes faith in Ruskin and Morris.
15 Austria: Chasing the Geometric Koloman Moser
16 Austria: Chasing the Geometric Josef Hoffmann
17 Austria: Chasing the Geometric Josef Hoffmann: Purmersdorf Sanatorium (Vienna )
18 Conclusion: the use of Ideology in Unsettled Periods The period of the Arts & Crafts was a period of political and economic turmoil. Consequences: Nostalgia in England, expressed as socialism Backward-looking romantic nationalism in Hungary and Scandinavia Forward-looking capitalist ideology in United States and Germany Forward-looking status competition in Austria
19 Implications of the Research Methodological Sociological study of artistic style is possible. Key is to identify a basis for commensuration that allows comparison among different types of objects. Substantive Arts & Crafts aesthetics and ideologies varied according to a region's position in the world-system. Organic styles arose in regions that looked to the past. Geometric styles arose in regions that looked to the future. Theoretical Bergesen/Cerulo model of culture needs to be reconsidered. Must examine how a region's political-economic situation affects its cultural situation. Bergesen/Cerulo model: Regional strength > Syntactic Codes > Artistic Style Rubinson model: Regional strength > Ideology > Horizon > Artistic Style
20 Future Directions Analysis of aesthetic and ideological diversity within the American Arts & Crafts movement; also, role of middle class Locating the Viennese Arts & Crafts movement within the fin de siècle cultural revival Analysis of the Arts & Crafts revival (1988 present)
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