Arts And Crafts Movement Analysis

In this assignment I will be discussing briefly about five movements that among the social, cultural, political and economic uproar of the late nineteenth century and early twentieth century were able to influence graphic design, visual communication and art as a whole as we know it today. The five movements (The Arts and Crafts Movement; Art Nouveau; Futurism; Symbolism and Surrealism) appear is in no chronological order according to their time lines.

The Arts and Crafts Movement

The Arts and Crafts movement was a movement that flourish flourished in the later decades of the nineteenth century mostly Britain and later Europe and United States. The movement can easily be described as a reaction against social, moral, and artistic confusion

While Art Nouveau and Arts and Crafts movements scorned the industrial revolution, Futurist however opposed earlier artistic traditions and rather celebrated the “machine age”, such as advancements in technology and urban innovation, and the triumph of technology over nature. Futurist tried by all means to demonstrate the beauty of modern life – beauty of machines, speed, violence and new changes. It was not until 1911 that a distinctive Futurist style emerged, borrowing from various aspects of Post-Impressionism, including Symbolism and Divisionism and then it was a product of Cubist

In fact at its best futurist artworks should convey noise, heat and even the smell of the city to mind. Artist of the movements were fascinated by new technology, especially chrono-photography, technology that allowed movements of an object to be seen by a sequence of frames. This technology influenced them greatly to their approach and artists were now beginning to showing movements in painting, encouraging an abstract art with rhythmic pulsating qualities.

Marinetti's ideas drew the support of artists Umberto Boccioni, Giacomo Balla, Gino Severini, and Carlo Carrà, who believed that they could be translated into a modern, figurative art which explored properties of space and movement. Among the paintings was Boccioni's The City Rises (1910), a picture which can claim to be the first Futurist painting by virtue of its advanced, Cubist-influenced style. Public reaction was mixed. French critics from literary and artistic circles expressed hostility, while many praised the innovative content.

Boccioni's encounter with Cubist painting in Paris had an important influence on him, and he carried this back to his peers in Italy. Nevertheless, the Futurists claimed the style too preoccupied by static objects, and not enough by the movement of the modern world thus rejecting his