{"id":3581,"date":"2024-04-29T14:17:31","date_gmt":"2024-04-29T14:17:31","guid":{"rendered":"https:\/\/axsonjohnsonfoundation.org\/seminars\/arts-and-crafts\/"},"modified":"2024-04-29T14:58:02","modified_gmt":"2024-04-29T14:58:02","slug":"arts-and-crafts","status":"publish","type":"seminar","link":"https:\/\/axsonjohnsonfoundation.org\/sv\/seminarier\/arts-and-crafts\/","title":{"rendered":"Arts and Crafts"},"content":{"rendered":"\n
\n

\n Ideas that changed the world. <\/p>\n<\/div>\n\n\n

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The Arts & Crafts movement has had a renaissance. Its influence on our time is becoming more and more apparent considering our renewed relationship with handcrafting and sustainability, as well as our interest in the surrounding environment. Our view of the beauty of every-day-things and our need to create is progressively interesting, and worth studying and passing on.
\nAt this seminar, we traced the movement from the fundamental ideas of art critic John Ruskin and artist William Morris. We saw how these ideas developed and spread through crafts settlements, and how they continuously inspired new styles in the same vein. Ruskin\u2019s and Morris\u2019s thoughts on our need to let the hand and mind cooperate to provide a satisfactory sense of being were becoming increasingly important in our digitised world.
\nThe seminar topics introduced new research that focused on the women of the movement and their artistry. The seminar also placed focus on the homes of the movement\u2019s artists; how they were created and what influence they had on British, as well as Swedish, homes. Moreover, we looked at the meaning of the movement\u2019s view on nature and gardens for the preservation of buildings and care for the environment. Finally, we delved into the inspiration of Arts & Crafts in other cultures.<\/p>\n

The seminar took place at Engelsberg Ironworks on 25 April.<\/p>\n <\/div>\n<\/div>\n\n\n

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Participants<\/h3>\n\n
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\n Rowan Bain <\/p>\n

\n Principal Curator at the William Morris Gallery, London <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Richard Bisgrove <\/p>\n

\n Retired Senior Lecturer, University of Reading <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Suzanne Fagence Cooper <\/p>\n

\n Visiting Fellow, University of York <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Elisabeth Svalin Gunnarsson <\/p>\n

\n Culture Historian and Writer <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Kirsty Hartsiotis <\/p>\n

\n Museum Curator, Freelance Speaker and Writer <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Howard Hull <\/p>\n

\n Director and Curator of John Ruskin\u2019s former home, Brantwood <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Qaisra Khan <\/p>\n

\n Curator for the Khalili Collections, Hajj and the Arts of Pilgrimage, London <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Karen Livingstone <\/p>\n

\n Deputy Director of Masterplan, Exhibitions and Design at the Fitzwilliam Museum, University of Cambridge <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Cilla Robach <\/p>\n

\n Head of Collection Unit, Nationalmuseum, Stockholm <\/p>\n <\/div>\n\n <\/div>\n\n

\n <\/div>\n <\/div>\n
\n
\n\n
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\n Svante Tir\u00e9n <\/p>\n

\n Art Historian and Curator specialising in Decorative Arts <\/p>\n <\/div>\n\n <\/div>\n\n

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