Indeed, while the Empire benefited greatly from the industrial revolution, the English people suffered from poor working conditions and low standard of living.
The actors of the Arts and Crafts movement rejected the massive industrialization of England and the domination it imposed on its colonies. Philippe-Jacques de Loutherbourg, Coalbrookdale by Night, 1801 © Science Museum Together, they would manage to weave the thread that unites decorative arts and fine arts… A revolutionary philosophy Both are refractory to the objectification of the working class and are deeply attached to traditional values they do not believe in the societal progress promised by the British Empire. William Morris, English designer, artist and thinker, as well as John Ruskin, English writer and poet, make this sad observation. It is this reorganization of the environment that generates real anxiety among citizens. This mutation is observable in many aspects: social relations, the pace of work, the standard of living. Also, British society was undergoing a profound change. Indeed, they are in complete disagreement with the race for progress and the mass production driven by the industrial revolution. This movement echoes the concerns of its time, particularly those of the craftsmen. One of these names will resonate in art history as one of the precursors of the Arts and Crafts movement… Two of its members, Rossetti and Burne-Jones, joined a design firm called Morris, Marshall, Faulkner & Co. A decade earlier, the Pre-Raphaelites, a British counter-movement famous for its depictions of nature and references to literature, had dissolved. Not to mention the near disappearance of craftsmanship, which had been totally ousted by English industrial society, more willing to promote science and technology. In 1860s Victorian England, art was not at the center of concerns. Photograph of the Standen House, designed by Philip Webb and built between 18 © Fabrics and Papers The origins of the movement
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