Beauty and utility: the Arts and Crafts house and garden

Aims

This course aims to: 

• examine and appreciate the expression of individual Arts and Crafts skills and tastes 
• understand the creativity of both owner and artist in key properties 
• enjoy a deeper insight into their legacy 

Content

Through idyllic illustrations, we take a guided walk into the medieval and Tudor worlds of chivalry. Houses include the birthplace of the Fair Rosamund to the mauresque enchantment of the Alhambra. The 1851 Great Exhibition exuded the pride of the British Empire in the latest technology and industry despite its Medieval Court it was a showcase for the future. Morris et al despaired at the human cost toiling away from nature and its goodness. Two jewel cases, one by Ludwig Gruner and the other by Philip Webb for Jane Morris encapsulate the disparity. We unpack Morris’s lasting sentiment about all our homes, the drive for the vernacular and locally crafted. Rather than man as an island, life should be communal and constructive – idealistic and achievable if you are in possession of a private income – leading to the birth of Morris & Co. Personal inspiration derived from nature and medieval craftsmanship, drove the quest for locally sourced material from bricks to timber. Morris expressed his romantic utopianism in the Red House, whilst the practical common sense of architect Philip Webb made it work, he was key in setting up SPAB, the Society for the Protection of Ancient Buildings. 

Despite the socialist ideals of the Arts and Crafts Movement, their patrons were wealthy middle-class such as the Beales who commissioned Webb to design and build Standen. Jekyll studied art at the Kensington Art School, as a woman she was refused membership of the Art Workers Guild, her painterly eye was drawn to William Robinson’s approach to gardening. The young Lutyens career was revolutionised by his meeting of Jekyll, together they created what became known as the Surrey Style. Kelmscott Manor was the setting for Morris’s mature utopia and inspiration for the Kelmscott Press. Its philosophy and crafts were saved by his daughter May who inherited her mother Jane’s outstanding embroidery skills, she became a talented designer and respected embroidery historian. 

Presentation of the course 

PowerPoint lectures will provide detailed illustrations, active participation is encouraged, raising questions and discussions form an integral part of the course. In addition Arts and Crafts articles will be brought in for handling and assessment.

Course sessions

1. Defining the inspirations behind Britain’s Arts and Crafts Movement 
   We start with an overview of the art and craft of Medieval and Tudor skills culminating with Gloriana – Queen Elizabeth II. Two hundred and fifty years later the 1851 Great Exhibition in London celebrated industrial and technical skills leading to the founding of the Arts and Crafts Exhibition Society
2. Romantic utopianism – William Morris and the Red House 
   We examine Morris’s dictum on beauty and utility before studying the ‘total’ exterior and interior of the home he built – The Red House. Designed with common sense by Philip Webb it was a cornerstone of the Arts and Crafts Movement
3. Honest architecture and practicality – Philip Webb 
   We question why Webb was described as the ‘father’ of Arts and Crafts architecture, his skills and contacts spanned from the Pre-Raphaelites to early Modernism. After an overview of his training and commissions we will use Stanton as a case study.
4. Artist, craftswoman and gardener – Gertrude Jekyll 
   We follow Jekyll’s career from Kensington Art School, painting expeditions in Europe and North Africa to finding inspiration in the great William Robinson and creating her own Munstead Wood leading to the ‘Surrey Style’. ‘Country Life’ commissions with Edwin Lutyens ranged from Northumberland to Normandy.
5. Living the philosophy – William Morris, May Morris and Kelmscott Manor 
   Elizabethan Kelmscott Manor encapsulates the notion of ‘growing out of its own site’, it was the setting for Morris’s mature utopia including the founding of the Kelmscott Press. Its philosophy and crafts were saved by his daughter May who in 1885 at the age of 23 was appointed Director of Morris & Co’s embroidery department.

Learning outcomes

You are expected to gain from this series of classroom sessions a greater understanding of the subject and of the core issues and arguments central to the course. 

The learning outcomes for this course are:

• gaining an insight into the wide-ranging achievements of the Arts and Crafts Movement
• identifying the leading figures – architects, designers and craftspeople
• appreciating the revival of traditional skills 

Required reading

There are no compulsory readings for this course. 

Typical week: Monday to Friday 

Courses run from Monday to Friday. For each week of study, you select a morning (Am) course and an afternoon (Pm) course. The maximum class size is 25 students.   

Courses are complemented by a series of daily plenary lectures, exploring new ideas in a wide range of disciplines. To add to your learning experience, we are also planning additional evening talks and events. 

Evaluation and Academic Credit  

If you are seeking to enhance your own study experience, or earn academic credit from your Cambridge Summer Programme studies at your home institution, you can submit written work for assessment for one or more of your courses.  

Essay questions are set and assessed against the University of Cambridge standard by your Course Director, a list of essay questions can be found in the Course Materials. Essays are submitted two weeks after the end of each course, so those studying for multiple weeks need to plan their time accordingly. There is an evaluation fee of £75 per essay. 

For more information about writing essays see Evaluation and Academic Credit. 

Certificate of attendance 

A certificate of attendance will be sent to you electronically after the programme.