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The Rookwood Pottery Company was one of the most outstanding American pottery producers in the early 20th century. Rookwood produced a line of significant architectural facing tiles, unlike anything else produced in the Arts and Crafts tile industry. This thesis is an assimilation of all the primary product. Rookwood's catalogues, commissions, and artisans are discussed to illustrate the design and production significance Rookwood's product. The analysis will be valuable for the documentation and identification of tile installations produced by the Rookwood Pottery Company from 1903-1931. / Department of Architecture

Indiana University-Purdue University Indianapolis (IUPUI)

"'The Burden of the Image:' Jane Morris in Art and Life" examines the work and life of Pre-Raphaelite model Jane Burden Morris (1839-1914). Burden Morris, an embroiderer and wife of the arts and crafts designer William Morris (1834-96), became famous in her own lifetime as the model for a number of Pre-Raphaelite works, particularly the paintings of Dante Gabriel Rossetti (1828-82). Although she was not considered conventionally beautiful by Victorian standards, artists drew heavily upon Burden Morris’s appearance, particularly her striking features and unusual artistic dress, in order to heighten the exoticism of their works and to suggest moments outside contemporary Victorian time and place. Burden Morris’s features became synonymous with the Pre-Raphaelite ideal in female beauty and several contemporaries reflected upon the surreal experience of meeting the enigmatic woman thought only to exist in paintings. Borrowing from a material culture approach which views images as both reflective and formative of identity, this work considers the relationship between Jane Burden Morris and her painted representation, and focuses in particular on the works produced through Burden Morris’s long-standing collaboration with Rossetti. Through an examination of Burden Morris’s appearance, activities, and demeanour, this dissertation considers the aspects of Burden Morris’s identity which contributed to her use in numerous Pre-Raphaelite images, and further explores the way in which these paintings may have altered how Burden Morris conceived of her own identity. “The Burden of the Image” examines three dominant modes of representing Burden Morris, including depictions of Burden Morris as medieval damsel, myth, and monster. It also considers Jane Burden Morris’s role within the broader context of aestheticism, and explores her relationship to the artistic dress movement and the aesthetic interior. / Thesis (Ph.D, Art History) -- Queen's University, 2014-03-31 13:33:52.106

Herbert Smenner was one of the most prolific architects in the east central Indiana area from 1920 up until his death in 1950. During those three decades, Smenner designed some of Muncie's most beloved and recognizable buildings, including churches, schools, homes, and governmental institutions. The purpose of this study is to study trends in architecture from 1920 to 1950 through Herbert Smenner's work, to determine if he followed these trends, and to see if these trends themselves influenced his work.Smenner was a very sought after architect in Muncie and the surrounding area. His main clientele were the upper class of Muncie, as well as being the choice for many public commissions. Smenner's work, for the most part, did follow the architectural trends of the time. He worked mostly in the revival styles, which was the primary mode of choice during the 1920's and 1930's. In the early 1930's he also designed several buildings in the popular Art Deco and Art Moderne styles. His innovative design the Harrison Township School in 1924, was popular among many regional architects who came to study the unique layout of the school.Smenner was a troubled man. Throughout his career he battled illness, depression and severe issues with his temper. His work was widely appreciated, but the man faced many trials in the public eye do to his personality and legal problems. Smenner was often known as a copy artist by his peers. Many of his contemporaries felt that Smenner never had the creative skills to be a true architect, and that he was simply a wonderful draftsman interpreting the designs of others. Sadly, he took his own life at the age of 52 only leaving behind his buildings as a testament to his life and accomplishments. / Department of Architecture

This thesis describes how components of the British Arts and Crafts Movement crossed the Atlantic and inspired the American Gustav Stickley's Craftsman residential architecture. As part of the Movement's reaction against the Industrial Revolution, Stickley's Craftsman residences emphasized honest and simple design and the use of natural materials. My thesis identifies the expressions of Stickley's ideals in the case study of a surviving Craftsman home located in the suburb of Irvington in Indianapolis, Indiana. The case study examines the house's configuration, construction methods, original materials and ornamental motifs. This study is particularly significant because original plans and documentation are available for research. The residence has had few owners and has therefore retained most of its original features and materials. These factors make the residence an exceptional example of Craftsman architecture. / Department of Architecture

xvi, 139 p. : ill. (some col.), col. maps. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This thesis explores the empowerment effects of arts-and-crafts programs targeting women in Johannesburg, South Africa, focusing mainly on one case study: Boitumelo Sewing Project. Interviews with participants, facilitators, and management reveal that empowerment manifests in Boitumelo Project primarily in individual and collective forms, though also on an economic level to a limited degree. While many development projects focus on economic empowerment, this research suggests that other forms of empowerment may be even more important in the long term. Economic empowerment helps people meet short-term responsibilities, but it is through individual and collective empowerment that personal and community forms of healing take place, enabling people to engage more successfully in society overall. In light of this, I argue that development projects should focus on engendering genuine participatory empowerment on both the individual and collective levels in order to increase sustainability and development success in the long term. / Committee in Charge: Dr. Anita M. Weiss, Chair; Dr. Dennis Galvan; Dr. Michael Hibbard

Eine Rebellion gegen das ‚machine age‘ – als solche verstand sich das Arts and Crafts Movement, das sich in der zweiten Hälfte des 19. Jahrhunderts in England herausbildete. Was können wir heute, in Zeiten der Klimakrise, Ressourcenknappheit und einem ökologisch sowie sozial nicht-nachhaltigen Wirtschaftssystem vom Arts and Crafts Movement lernen? In diesem Vortrag werden die Transformationserfahrungen der viktorianischen Reformer:innen unter dem Aspekt ihrer Zukunftsfähigkeit betrachtet und versucht, die Ansätze des Arts and Crafts Movement mit dem gegenwärtigen Diskurs um nachhaltiges Design in Beziehung zu setzen.

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À partir de l'examen des maisons réalisées à flanc de coteaux par Bernard Maybeck (1862-1957) durant la période comprise entre 1892 et 1904 aux États-Unis à Berkeley, dans l'État de la Californie, l'auteur aborde comment s'est créé un langage architectural unique inspirée de le mouvement Arts and Crafts et plus particulièrement des écrits théoriques de l'auteur et critique John Ruskin (1819-1900). Sous l'influence de Maybeck, l'ensemble bâti des maisons « gothiques » devient un outil d'influence majeur dans la mise en place d'un nouveau mode de vie centré autour de l'architecture et de la nature. Le site lui-même influence substantiellement les recherches plastiques par leur liaison importante au site d'implantation. Comprenant ce développement architectural comme étant une interprétation du paysage et de l'esprit gothique théorisé par Ruskin, l'architecte affirme la nécessité de revenir à une vie plus « simple » où l'immixtion entre l'homme et la nature est en harmonie. / Using residential architecture constructed by Bernard Maybeck (1862-1957) in the hillside of Berkeley (United States of America, California) during the period comprised between 1892 and 1904, this thesis shows how was articulated a unique architectural language inspired by the Arts and Crafts movement and more specifically the English author, theorician and critic John Ruskin (1819-1900). Under Maybeck's guidance, the architectural ensemble that he affectionately called his « gothic houses » became an important tool helping the establishment of a new way of life centered around architecture and nature. Berkeley's hillsides and landscape influenced considerably the artistic research, as the houses had to reflect their surroundings. Understanding this architectural development as an interpretation of the landscape and of the nature of Gothic as defined by Ruskin, Maybeck shows the necessity to go back to a « simpler » life where man and nature are in harmony.