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Arts & Crafts Era Jewelry movement, known as Arts & Crafts, breathed new life into the business of designing and making jewelry. Suddenly, out from under the drab and lackluster tradition of mourning jewelry, a riot of enameled color, glimmering cabochons Beads, Findings & Jewelry Supplies, and sinuous design gripped the imaginations of a particularly ambitious group of artistically minded individuals. A return to the past (and to the Far East) for inspiration and technique pushed artisans and designers headlong into a future that would forever alter our sense of pleasing design and true beauty. The Arts & Crafts Movement evolved through a complex series of historical events all converging during the second half of the nineteenth century. Great enthusiasm had been shown for mechanization in industry during the late eighteenth and early nineteenth centuries. Surprisingly, this over-mechanization was actually encouraged by the Royal Society of Arts through their awarding of prizes to inventors and innovators alongside those traditionally only awarded to artists. The Great Exhibition of 1851 was critiqued as having nothing to show of artistic merit, displaying virtually all machine-made items, thus providing proof that mechanization had resulted in a downturn of aesthetics in general design. It was this Exhibition, along with the writings of John Ruskin and Owen Jones that planted the seeds of the Arts & Crafts Movement. Ruskin was a follower of the Pre-Raphaelite commitment to nature, primarily writing about art he eventually published a series of essays Unto this Last concerning social reform and the dehumanization of workers through the division of labor.
Original Drawing for the Grammer of Ornament by Owen Jones, 1856.
Photo Courtesy of the Victoria & Albert Museum Collection. Arguably, the chief aim of the Craft Revival was: …to bring the pleasure of original creative activity into the lives of the men and women of the working classes, and to relieve the monotony to which repetitive mechanical labour condemned them for the greater part of their waking hours. The publication of another book, entitled Grammar of Ornament by Owen Jones, featuring stylized foliate designs derived from Medieval sources, extensively influenced design at the end of the nineteenth century. All this provided inspiration to a young William Morris who, having the financial backing of family money, was able to alter his life plan from one of service to the Church to the study of architecture which evolved into designing patterns for textiles, wallpapers and the like. Morris became the embodiment of the Arts & Crafts ideal of a return to nature and individual craftsmanship as a way to provide art and beauty into every home. The founding of Morris and Company in 1861 (as Morris, Marshall, Faulkner & Co., just in time to exhibit for the first time, in company with the Japanese and the Roman goldsmith Castellani, at the 1862 Exhibition, which could thus claim, on these grounds alone, to be the origin of the Art Nouveau movement in Europe and America) provided the example which was to inspire a number of other apparently uncommercial ventures, and to remove the monopoly in supplying the public from the mass-manufacturers whose taste was already being called into question by an increasingly critical and influential section of the consumer population. Vocal advocates like William Morris, who believed that a piece should be produced from beginning to end by a single artisan, and John Ruskin, ever an advocate for the artisan, were relentless in their push toward a Medieval style of guilds to produce, by hand with good design elements, items used in everyday life. Gothic and Renaissance revival movements in jewelry turned the discerning eye to the past for pleasing shapes and motifs. With the guidance of Morris and Ruskin, a back-to-nature styling that relied heavily on floral and foliate motifs along with insects, shells and other objects from nature emerged like a breath of fresh air after the overriding Victorian mourning motifs. Following the exhibition of 1862, Japanese decorative objects became extremely desirable. Japanese design influence, as well as their innovative use of mixed metals, began to seep into jewelry design. This perfect storm of change, revival and discovery led not only to the Arts & Crafts Movement but also to the overlapping Art Nouveau, Edwardian and Belle Epoque aesthetics, not only coincidental in time but in various design elements, techniques, and materials.

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Natur schwarz Rutilquarz Perlen Str�nge

Natur schwarz Rutilquarz Perlen Str�nge,Runde,

Gr��e: ca. 8~9mm Durchmesser,Bohrung: 1 mm;ca. 45~48 Stk. / Strang,15.7 Zoll.

spirituelle Eigenschaften von Rutilquarz:

? verst�rkt spirituelle Energie: Rutilquarz ist ein gro�artiger Energieverst�rker,Dies macht es n�tzlich f�r Meditation und spirituelle Praktiken.es verbessert die psychischen F�higkeiten,Intuition,und spirituelle Einsicht,hilft Ihnen, sich mit h�heren Bereichen und spirituellen F�hrern zu verbinden.

? f�rdert die emotionale Heilung: Rutilquarz kann bei der emotionalen Heilung und Befreiung helfen.Es wirkt emotional reinigend und bietet Unterst�tzung in schwierigen Zeiten.Es kann Ihnen helfen, vergangene Traumata loszulassen,Muster,und emotionales Gep�ck,F�rderung der Vergebung,Selbstliebe,und emotionales Gleichgewicht.

Toho perline rotonde

Toho perline rotonde,perline giapponesi,(425) gold lustre marionberry

misura:circa1.5mm di diametro,Foro: 0.7 mm;su 3000pcs / bottiglia,10 g / bottiglia.

toho � la migliore produzione di perle di vetro in Giappone.toho significa "tesoro orientale" in inglese.sono favoriti per la loro alta qualit�,lavorazione di precisione,e uniformit� nelle dimensioni.Le perline rotonde di toho sono prodotte con un foro leggermente pi� grande rispetto alle altre perline,rendendoli il cordone preferito per le tecniche di tessitura di perline avanzate che richiedono pi� passaggi di filo attraverso ogni tallone.ti d� pi� variet� di lavori di perline.Le perline toho sono disponibili in una vasta gamma di colori e finiture che sicuramente ispireranno i tuoi progetti di tessitura di perline.

Toho semi di perline giapponesi

Toho semi di perline giapponesi,tondo,11/0,(53d) grigio scuro opaco

misura:circa2mm di diametro,1.5 mm di spessore,Foro: 0.5 mm;circa 42000pcs/libbra.

Toho perline rotonde

Toho perline rotonde,perline giapponesi,(383) lustro blu navy foderato di bianco

misura:circa2.2mm di diametro,Foro: 0.8 mm;circa 1110pcs/10g.

Toho perline rotonde

Toho perline rotonde,perline giapponesi,(1807) arcobaleno rosa tenue foderato di grigio

misura:circa2.2mm di diametro,Foro: 0.8 mm;circa 5555pcs/50g.

Electroplate non magnetici ematite sintetico fili di perline

Electroplate non magnetici ematite sintetico fili di perline,rondelle,Argento Placcato

misura:circa4mm di diametro,2 mm di spessore,Foro: 1 mm;circa 180pcs/filo,15.7 pollice.

propriet� spirituali dell'ematite: l'ematite � altamente radicata,rendendola una pietra ideale per coloro che si sentono disconnessi o dispersi.aiuta ad ancorare e stabilizzare la tua energia,riportandoti nel momento presente.l'ematite ha una forte energia protettiva,proteggendoti dalle energie negative.l'ematite � nota per la sua capacit� di assorbire e trasmutare le emozioni negative,come lo stress,rabbia,e ansia.aiuta a liberare queste emozioni,permettendoti di guarire e andare avanti con un cuore pi� leggero.le propriet� disintossicanti dell'ematite possono aiutare a purificare il corpo,promuovere la salute fisica e la vitalit�.

Artistic Handcrafted fine jewelery

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Finished fine fashion jewelery