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001 77149
003 UtSlPG
005 20260610134804.0
006 m
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008 260607r2025||||utu|||||o|||||||||||||| d
010 _a16012599
040 _aUtSlPG
041 7 _aen
_2iso639-1
050 4 _aNK
100 1 _aCrane, Walter,
_d1845-1915
245 1 4 _aThe claims of decorative art
264 1 _aSalt Lake City, UT :
_bProject Gutenberg,
_c2025
300 _a1 online resource :
_bmultiple file formats
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
500 _aIllustrated by the author.
500 _aRelease date is 2025-10-29
505 0 _aThe claims of decorative art -- The architecture of art -- Figurative art -- Sculpture: from a decorator's point of view -- Painting at the present day: from a decorator's point of view -- On the structure and evolution of decorative pattern -- Art and labour -- Art and handicraft -- The prospects of art under socialism -- On the teaching of art -- Design in relation to use and material -- The importance of the applied arts, and their relation to common life -- Art and commercialism -- Art and social democracy -- Imitation and expression in art -- Art and industry.
508 _aAlan, The Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520 _a"The claims of decorative art" by Walter Crane is a collection of essays on art and design written in the late 19th century. It argues for the dignity and centrality of the decorative and applied arts, their unity with architecture, and their deep ties to everyday life, labour, and social conditions. The work critiques commercialism and machine production for degrading taste, and champions craftsmanship, pattern, and figurative thought as foundations of a healthy artistic culture. The opening of the work sets out a manifesto: decorative art is not a lesser field but the root system that sustains painting and sculpture, and beauty must permeate daily surroundings to nourish higher arts. Crane insists art is a language shaped by material, use, and social environment; he rebukes exhibition culture and “flatness-only” clichés, arguing adaptability, harmony, and decorum are the true tests of decoration. He broadens “architecture” to mean the structural background of life and thought, showing how economic forces and commercialism fragment the arts and stifle spontaneity, while a more communal mode of living could restore their unity. He then surveys figurative art’s vitality from satire to ideal allegory, defends sculpture and painting from a decorator’s standpoint, outlines the logic and evolution of pattern (from square and circle to scrolls, frets, and fans), and links art to labour, calling for revived handicraft against mechanised production and its erosion of both joy in work and public taste. (This is an automatically generated summary.)
534 _pOriginally published:
_cLondon: Lawrence and Bullen.
653 _aDecoration and ornament
856 4 _uhttps://archive.org/details/claimsofdecorati00cran/page/n5/mode/2up
856 4 0 _uhttps://www.gutenberg.org/ebooks/77149
999 _c117871
_d117871