Women Art Workers And The Arts And Crafts Movement

Women Art Workers provides a new social and cultural history of the Arts and Crafts movement which offers unprecedented insight into how women constructed alternative, creative lifestyles and disseminated the ethos of the social importance of the Arts and Crafts across new local, national, and international spheres of influence.

"Zipf focuses on five gifted women in various parts of the country. In San Diego, Hazel Wood Waterman parlayed her Arts and Crafts training into a career in architecture. Cincinnati's Mary Louise McLaughlin expanded on her interest in Arts and Crafts pottery by inventing new ceramic technology. New York's Candace Wheeler established four businesses that used Arts and Crafts production to help other women earn a living. In Syracuse, both Adelaide Alsop Robineau and Irene Sargent were responsible for disseminating Arts and Crafts-related information through the movement's publications. Each woman's story is different, but each played an important part in the creation of professional opportunities for women in a male-dominated society.".

This interdisciplinary collection on women and art includes essays representing the fields of philosophy, modern European social history, history of art and architecture, as well as film theory and criticism.

This title was first published in 2002. To date, studies explaining decorative practice in the early modernist period have largely overlooked the work of women artists. For the most part, studies have focused on the denigration of decorative work by leading male artists, frequently dismissed as fashionably feminine. With few exceptions, women have been cast as consumers rather than producers. The first book to examine the decorative strategies of late nineteenth- and early twentieth-century women artists, Women Artists and the Decorative Arts concentrates in particular on women artists who turned to fashion, interior design and artisanal production as ways of critically engaging various aspects of modernity. Women artists and designers played a vital role in developing a broad spectrum of modernist forms. In these essays new light is shed on the practice of such well-known women artists as May Morris, Clarice Cliff, Natacha Rambova, Eileen Gray and Florine Stettheimer, whose decorative practices are linked with a number of fascinating but lesser known figures such as Phoebe Traquair, Mary Watts, Gluck and Laura Nagy.

A vibrant gathering of influential voices who have participated in the critical, political, and curatorial revival of William Morris's work.

Histories of Everyday Life is a study of the production and consumption of popular social history in mid-twentieth century Britain. It explores how non-academic historians, many of them women, developed a new breed of social history after the First World War, identified as the 'history of everyday life'. The 'history of everyday life' was a pedagogical construct based on the perceived educational needs of the new, mass democracy that emerged after 1918. It was popularized to ordinary people in educational settings, through books, in classrooms and museums, and on BBC radio. After tracing its development and dissemination between the 1920s and the 1960s, this book argues that 'history of everyday life' declined in the 1970s not because academics invented an alternative 'new' social history, but because bottom-up social change rendered this form of popular social history untenable in the changing context of mass education. Histories of Everyday Life ultimately uses the subject of history to demonstrate how profoundly the advent of mass education shaped popular culture in Britain after 1918, arguing that we should see the twentieth century as Britain's educational century.