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Presented By Richard Guy Wilson Held at Salve Regina University, Newport, RI September 27-29, 2001 REGISTER ONLINE OR Print registration SESSION SCHEDULE THURSDAY, SEPTEMBER 27 CONVENER: James C. Garman, Cultural and Historic Preservation Program, Salve Regina University SESSION I 9:00-10:00 RICHARD GUY WILSON - Commonwealth Professor and Chair of Architectural History, University of Virginia The Arts & Crafts Movement: New Perspectives With Gustav Stickley and his Mission styled furniture in the lead and the brothers Greene on the West Coast, the American Arts and Crafts Movement exudes a homogenous air of simple lines, craftsmanship, fumed oak, and dark interiors. In actuality, the American representatives of the movement were far more diverse and encompassed many different expressions. This presentation will examine the origins of the movement in England along with local manifestations in Newport and other frequently ignored areas. 10:00-10:30 REFRESHMENT BREAK SESSION II 10:30-11:45 Introduction: Jay Lacouture, Art Department Salve Regina University TOM MICHIE - Curator of Decorative Arts, Museum of Art, Rhode Island School of Design The Rise and Legacy of the Arts and Crafts Movement in Providence At the end of the 19th century, Providence, Rhode Island was one of the most heavily industrialized cities in the nation. Fortunes made from locally manufactured textiles, machine tools, jewelry, and silver supported the arts, embodied by the Rhode Island School of Design (1877) and the Providence Art Club (1880). This paper will trace the background of these organizations, with an emphasis on the Art Workers Guild, a short-lived collaboration of painters and furniture-makers. Two of their most prominent commissions, the Fleur-de-Lys Studio Building and the Providence Art Club, will be examined in detail, and in the context of Colonial Revival architecture and furniture. The impact of the landmark 1901 Arts and Crafts exhibition will also be examined, as well as the legacy of local artists on the Arts and Crafts movement nationally. 11:45-12:45 LUNCH Bus leaves at 12:50 for NEWPORT ART MUSEUM SESSION III 1:15-2:15 Welcome and introduction of speaker: Christine Callahan, Director, Newport Art Museum CLEOTA REED - Scholar Affiliate, Department of Fine Arts, Syracuse University Irene Sargent and the Craftsman Magazine Irene Sargent, writer, critic, teacher, and possibly the instigator of Gustav Stickley's Craftsman magazine, is unique among the major figure of the Arts and Crafts movement in America in being solely a writer/critic rather than a maker or designer. Her vast knowledge of the visual arts, her erudition, and her extraordinary capacity for productive work made her invaluable to Stickley at a crucial point in the development of his budding Craftsman Empire. This paper examines Sargent's life and work and her important role not only in Stickley's enterprises but also in the dissemination nationwide of the broader principles and history of the Arts and Crafts movement. SESSION IV 2:30-3:30 Introduction: William Varieka, William Varieka, Fine Arts SALLY WEBSTER - Professor of American Art, City University of New York, Graduate Center and Lehman College The American Marriage of Art Nouveau and Arts and Crafts: The Graphic Work of Will Bradley Will Bradley (1868-1962), based first in Chicago and later Massachusetts, exploited the new photo-mechanical printing process producing posters and book illustrations during the 1890s that introduced to an American public European innovations in color, typography and composition. His graphic work from this period is characterized by flat clear images of unmodulated color enclosed within the serpentine line of art nouveau and framed by the geometry of an arts and crafts border. This paper will examine his posters and book illustrations and demonstrate how his synthesis of art nouveau and arts and crafts set a new standard for book design and commercial art in this country. 3:30-5:30 TOURS 7:00 RECEPTION AND DINNER - OCHRE COURT Dinner speaker: Lawrence Cutler, The National Museum of American Illustration FRIDAY SEPTEMBER 28 CONTINENTAL BREAKFAST SESSION V 9:00-10:00 Introduction: James Yarnall, Art Department, Salve Regina University WILL MORGAN - Distinguished Teaching Professor, emeritus, University of Louisville The Arts & Crafts in New England Churches: The Anglican Connection The link between the church and the Arts & Crafts movement was symbiotic from the beginning, but the link was especially strong in late 19th-century New England (Richardson's Trinity Church, with its decorative program including artists such as Burne-Jones, is a key example of the gesamtkunstwerk in America). English ecclesiastical architect George Frederick Bodley gave Morris & Co. its first commission, and Bodley's emmisary in America, Henry Vaughan continued the patronage of decorative painters, wood carvers, and stained glass artists in churches, especially in the Northeast. Vaughan-inspired Gothic Revivalists, particularly Ralph Adams Cram, contributed to a flowering of the Arts & Crafts in ecclesiastical design. 10:00-10:30 REFRESHMENT BREAK SESSION VI 10:30-11:45 Introduction: Pieter Roos, Director, Newport Restoration Foundation PAUL MILLER - Curator, Preservation Society of Newport County Peasant Cottages for Newport? Shunning their classicist peers - the well-known architects and decorators of Newport's Gilded Age "cottages" with their requisite Louis Seize salons - the reformers of the Arts and Crafts movement boasted that they had found the design vocabulary of Democracy. The movement involved craftsmanship in pottery, glass, metal, wood and textiles; in principle it did not require any historical design motif, but rather suggested a specific organic way of looking at the commonplace as art and at the plain everyday honest world through art. 12:00-1:00 LUNCH SESSION VII 1:00-2:20 Introduction: Elizabeth Delude-Dix, Cultural and Historic Preservation Program, Salve Regina University CHERYL ROBERTSON - Independent Scholar, Curator and Museum Educator At Home with the Arts & Crafts Movement The Arts and Crafts movement was decidedly domestic: "hearth and home" were revered and oft invoked by both committed movement reformers and savvy marketers of mass-produced household furnishings. This talk will explore both elite and popular expressions of "simple" living in Arts and Crafts interiors. How complex was this homey simplicity? How did Arts and Crafts adherents mediate the ambiguities and contradictions of functionality, fashion, and consumption? SESSION VIII 2:30-3:30 Introduction: John Buckley, FSC, Chair, Department of History, Salve Regina University CATHERINE ZIPF - Ph.D., Independent Historian Professional Pursuits: Women in the Arts and Crafts Movement Women participated in the Arts and Crafts movement in many nontraditional ways; as laborers who designed the products, as leaders who spread the faith and as professional women interested in more than a domestic life. Such women both shaped and were shaped by the movement, on the one hand through non-domestic opportunities available via artistic communities and on the other hand through the use of these opportunities to help the movement reach its fullest potential. This examination of prominent women from three major geographic centers, Boston, Syracuse and New York, will outline and discuss the issues surrounding women's contributions to the Arts and Crafts movement. TOURS 3:30-5:30 6:30-7:30 Reception: YOUNG BUILDING SATURDAY SEPTEMBER 29 CONTINENTAL BREAKFAST SESSION IX 9:00-10:00 Introduction: James C. Garman, Cultural and Historic Preservation Program, Salve Regina University John Burrows: design historian and owner of J.R. Burrows & Company, Historical-Design Merchants of Rockland, Massachusetts Morris & Company at the Foreign Fair: Marketing Arts & Crafts Design in 1880s Boston During the winter of 1883-84, Morris & Company undertook their most ambitious marketing effort in America, with a six booth pavilion at the Foreign Fair in Boston and the publication of an exhibit catalog. Underpinned by sales efforts of local commercial representatives, this exhibit increased awareness of New Englanders in the products and design philosophy of William Morris and impacted architects such as H.H. Richardson, Peabody & Stearns, Stanford White, Ogden Codman and Arthur Little. 10:00-10:30 Refreshment Break Session X 10:30-12:00 CONCLUDING SESSION (Limited Registration) Early Registration Forms will be accepted if postmarked on or before August 18. After September 15 registration will be accepted at the Conference. Registration Fees Early Registration (Until August 18th) $300 The Registration Fee includes the dinner on September 27, one reception and box lunches. Student Registration One-Day Registration Cancellation Policy Complete the Registration Form and mail with check, money order, credit card or purchase order to:
Sponsored Conferences and Programs Checks should be made payable to: You may also register by calling (401) 341-2711 and charging the Conference to your Visa or MasterCard or faxing your registration form to (401) 341-2972. Accommodations Visit our website at www.salve.edu. (Limited Registration) Early Registration Forms will be accepted if postmarked on or before August 18. After September 15 registration will be accepted at the Conference. Registration Fees REGISTER ONLINE OR Print registaration Special thanks to the following for their collaboration and support: Newport Art Museum About Salve Regina University "A small stroll through the campus of Salve is a tour of the great architectural works of the Golden Age. The protection and sensitive adaptation of these estates and their surrounding landscapes for educational use are examples of preservation at its best." Richard Moe, President Salve Regina University's 75-acre campus, situated on the oceanfront cliffs of Newport, RI, includes 18 historic buildings. The University has received numerous awards for preservation and adaptive reuse of its structures including a National Preservation Honor Award from the National Trust for Historic Preservation. Linking the responsibility of stewardship to the educational mission of the institution, the University offers an undergraduate major in cultural and historic preservation and views its campus as a living and learning laboratory. More than 2000 undergraduate and graduate students are enrolled at Salve Regina University in approximately 40 programs in liberal, fine and performing arts as well as select professional areas. The University welcomes students of all beliefs and strives to educate men and women by embracing a mission of learning and community enrichment in the tradition of its founders, the Sisters of Mercy.
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