User:Sullibat/sandbox

Literary Engagements with the Movement

The Irish Arts and Crafts Movement had an ambiguous relationship with the contemporaneous Irish Literary Revival and Celtic Revival. Some nationalists appropriated Irish Arts and Crafts pieces to cultural nationalism. Douglas Hyde pushed literary nationalism into cultural nationalism. In "Necessity for De-Anglicising Ireland," Hyde argues,

"In conclusion, I would earnestly appeal to every one, whether Unionist or Nationalist, who wishes to see the Irish nation produce its best—and surely whatever our politics are we all wish that—to set his face against this constant running to England for our books, literature, music, games, fashions, and ideas. I appeal to every one whatever his politics—for this is no political matter—to do his best to help the Irish race to develop in future upon Irish lines, even at the risk of encouraging national aspirations, because upon Irish lines alone can the Irish race once more become what it was of yore—one of the most original, artistic, literary, and charming peoples of Europe."

Beyond the nationalist literature of writers like W. B. Yeats, Hyde encouraged nationalist fashions and arts, produced by Arts and Crafts artists such as Yeats' sisters Elizabeth and Lily in the Dun Emer Press. Although Yeats emphasized the elite, he believed that the common and every day could open up into a symbolic universe (ill find citation). Although his ideals often contrasted those of the Arts and Crafts Movement, vestments were among the common Arts and Crafts objects that served a higher symbolic purpose.

Literary figures Lady Gregory and John Millington Synge shared an interest in rural economics that aligned with the conscious affordability of Arts and Crafts objects.

Educational Systems Created or Affected by the Movement (figured out A and C main had stuff on this already)

Origins (by Katie) The Irish Arts and Crafts movement had its origins in insular art produced by Hiberno-Saxons in the British Isles during the period from roughly 500 AD to the 10th century. The spread of Christianity northward through Europe prompted an increase in the production of religious art. These artists drew on designs of the Celts, a group of barbarian tribes who lived during the Iron Age throughout Europe. Insular artists combined Christian symbols with Celtic designs to create an entirely original style that would glorify the Christian God. This period of artistic production is considered the golden age of Irish art. It is these objects that artists of the Irish Arts and Crafts movement hoped to emulate.

The Celtic designs that insular artists drew from included zoomorphic, abstract figures, a three-armed triskele, and curvilinear lines. Insular artists reinvented these elements with new designs such as interlace, and new forms of animal and human figures. Insular art is highly disciplined in structure, relying heavily on geometric shapes. The most common objects produced by insular artists were sculptured high crosses, illuminated manuscripts, reliquaries, and chalices.

Perhaps the most famous example of insular art is the Book of Kells, an illuminated manuscript of the four Gospels written in Latin. In addition to the four Gospels, the Book contains canon tables, and whole pages decorated with ornate architectural frames. The art of the Book of Kells is both religious and highly decorative, featuring mofitfs such as circles, spirals, trumpet patterns, interlace and fret designs, a wide variety of animal ornament, and contorted human forms. The minute scale of the ornamentation is consistent with insular metalwork, which was similarly intricate.

Political Context (by Brooks)

The Irish Arts and Crafts Movement was closely connected to the Irish political ferment of the time. Spanning a comparatively brief time period between 1886 and 1925, the Irish Arts and Crafts movement was not without its major political moments such as Charles Stewart Parnell championing the Irish Home Rule movement, his subsequent demise following the Katharine O’Shea scandal in 1890, the Easter Rising of 1916, and ultimately the establishment of an Irish Free State in 1922. Falling in line with this Irish Nationalist ferment of the time, the Irish Home Rule movement would find the aesthetics of the movement quite useful for providing a visual representation of the more prominent literary Celtic revival. However, this political appropriation of the movement was not unique to Ireland alone, in the words of Michael Camille, "One of the major trends in nineteenth-century culture was to see history in terms of then current rivalries and political power-blocks and also to categorize art in terms of the national and ethnic groups that produced it."

In the words of W. B. Yeats we can see that this movement was integrally connected to the nationalist fervor of the time, “Here in Ireland, where the arts have grown humble, they will find two passions ready to their hands, love of the Unseen Life and Love of Country… I would have our writers and craftsmen of many kinds master [Ireland’s] history and legends, and fix upon their memory the appearance of mountains and rivers and make it all visible again in their arts.”

The objects of the movement themselves became woven into the Irish Nationalist tapestry in a myriad of ways. An early example of this would be seen at the 1890 English Arts and Crafts Society exhibition where the English artist and reformer Walter Crane displayed his own take on the Irish National Banner. This banner was adorned with various Irish emblems and most notably featured the signature of Charles Stewart Parnell. 1. Roger Stalley, et al. "Insular art." Grove Art Online. Oxford Art Online. Oxford University Press.Web. 24 Apr. 2015..

2. J. V. S. Megaw and M. Ruth Megaw. "Celtic art." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 24 Apr. 2015..

3. Cunliffe, Barry W. The Celts: A Very Short Introduction. Oxford: Oxford UP, 2003. Print.

4. Roger Stalley. "Book of Kells." Grove Art Online. Oxford Art Online. Oxford University Press. Web.24 Apr. 2015. .