You are on page 1of 67

The Impact of the Industrial

Revolution on Workers, Artists


and Society in the 19th Century
1.
Industrial Revolution
First in England, later the world.
James Watt's improvements to the steam engine and
its subsequent application to manufacturing in the late
18th and early 19th century resulted in a major
societal shift. Traditionally manual laborers learned their
trade by progressing through stages of apprenticeship
under a master craftsman. The new steam engine driven
machines replaced the craftsmen system with faster
and cheaper production but often greatly inferior
results. The critical eye and artistry of the craftsman
was sacrificed for speed. The worker now served the
machine, feeding it raw materials, allowing it to
determine the final product.
James Watt's memperbaharui mesin uap - dan
aplikasi berikutnya untuk manufaktur pada akhir abad 18
dan awal abad ke-19-menghasilkan perubahan besar di
masyarakat. Buruh Manual tradisional mempelajari
perdagangan mereka dengan maju melalui tahap
magang di bawah empu. Mesin uap yang baru
digerakkan mesin digantikan sistem pengrajin dengan
lebih cepat dan produksi yang lebih murah tapi kualitas
hasil seringkali jauh lebih rendah. Mata yang detail dan
artistik dari pengrajin dikorbankan untuk kecepatan.
Pekerja sekarang melayani mesin, bahan baku
memberinya makan, sehingga memungkinkannya untuk
menentukan produk akhir.
Tradesmen and
agricultural workers
displaced by newly
mechanized or improved
farming methods flocked to
cities to seek work in
factories. The lives of the
laborers declined as
factory owners treated their
workers as if they were
commodities and not
human beings. Lowly paid
men, women and children
worked 12 hour days in
deplorable conditions. The
new arrivals settled in
cheaper areas of the city
often dangerous and
disease-ridden slums.
Pedagang dan pekerja pertanian digantikan
oleh mekanik baru atau perbaikan metode
pertanian berbondong-bondong ke kota
untuk mencari pekerjaan di pabrik.
Kehidupan para buruh tidak diperlakukan
dengan baik oleh pemilik pabrik. mereka
seakan-akan komoditas dan bukan manusia.
Dibayar rendah: pria, wanita dan anak-anak
bekerja 12 jam hari dalam kondisi
menyedihkan. Pendatang baru menetap di
daerah kumuh pinggiran kota- mereka sering
diserang penyakit yang berbahaya.
Numerous critics of this new industrialized
society advocated for the rights of workers
and the return to a connection between
the individual craftsman and their work.

Banyak kritik dari masyarakat pada industri baru ini.


Mereka berusaha mengadvokasi hak-hak pekerja
dan mengembalikan hubungan antara individu
pengrajin dengan pekerjaan mereka.
2.
Great Exhibition of the Works of Industry of All
Nations 1851
London, England (Also known as the Crystal
Palace Exhibition)
the Crystal Palace Exhibition
Awash with pride and profits from the
Industrial Revolution the English upper
class, spearheaded by Prince Albert
(husband of Queen Victoria) organized a
showcase for modern industrial
technology and design. England and a
number of invited countries displayed their
achievements in four categories: Raw
Materials, Machinery, Manufacturers and
Fine Arts.
Dipenuhi kebanggaan dan keuntungan
dari Revolusi Industri Inggris kelas
atas, dipelopori oleh Pangeran Albert
(suami Ratu Victoria)
diselenggarakanlah pameran teknologi
industri modern dan desain. Inggris
dan sejumlah negara diundang untuk
memamerkan prestasi mereka dalam
empat kategori: Bahan Baku, Mesin,
Produsen, dan Seni Murni.
The exhibition was a popular success but the
critical reviews were not complementary of the
exhibitors. Critics found the work created by
industrialized methods to be shoddy and poorly
designed, full of superfluous ornaments that did
not enhance the product. The Victorian
propensity for over-decoration and a
hodgepodge of unrelated styles was seen as
symptomatic of a tasteless and over-capitalistic
society.
Ornamentation has fallen in and out of
favor over time. To read an interesting
article on ornamentation check Alice
Twemlow's "The Decriminalization of
Ornament" in which she discusses the
recent surge of ornamentation in graphic
design and the inevitable connection
between form, content and ornament."
Ornamentasi telah gagal dan tidak disukai
dari waktu ke waktu. Untuk itu baca
sebuah artikel menarik tentang
ornamentasi: Alice Twemlow "The
Decriminalization of Ornament", di mana ia
membahas gelombang baru ornamen
dalam desain grafis dan hubungan yang
tak terelakkan antara bentuk, isi dan
ornamen. "
3.
The Grammar of Ornament
Owen Jones, 1856
In response to the call for better quality design,
Owen Jones published an exhaustive inventory
of international and historical decorative styles.
Printed in colorful lithographs, the book includes
20 sections of illustrated motifs and Jones's 37
Propositions on what makes good design."
Modern, scientific and devoid of deliberate
historicism, operating by principles to create
an ornament for every kind of decoration."
(Jespersen, 2008)
Dalam menanggapi panggilan untuk kualitas desain
yang lebih baik , Owen Jones menerbitkan sebuah
inventaris lengkap Sejarah internasional tentang
gaya dekoratif. Dicetak dalam warna-warni litograf,
kitab ini mencakup 20 bagian bergambar motif dan
37 usulan Jone untuk membuat desain yang baik.
"Modern, ilmiah dan bersejarah, beroperasi dengan
prinsip-prinsip untuk menciptakan ornamen untuk
setiap jenis dekorasi." (Jespersen, 2008)
John Ruskin
England, 1819 1900
Born to wealth, John Ruskin was an author, poet and art
critic whose socialist convictions were strong enough to
cause him to reject his fortune to fulfill his ideologies.
Ruskin's theorized that the Industrial Revolution's
division of labor made work monotonous and was the
main cause of the unhappiness of the poor. He looked
backward to an idealized medieval period, to him it was
a paradigm of the union of art in labor in service to
society. He romanticized "The organic relationship ...
between the worker and his guild, the worker and his
community, between the worker and his natural
environment, and between the worker and his God."
John Ruskin
England, 1819 1900
Terlahir kaya raya, John Ruskin adalah
seorang penulis, penyair dan kritikus seni
berkeyakinan sosialis yang kuat yang
menyebabkan dia menolak harta kekayaan
untuk memenuhi ideologinya. Ruskin's
berteori bahwa Revolusi Industri membuat
pembagian kerja yang monoton dan
merupakan penyebab utama
ketidakbahagiaan orang miskin. Dia
memandang ke belakang yakni periode abad
pertengahan yang ideal, baginya itu adalah
paradigma tentang "penyatuan tenaga kerja
dan seni di dalam pelayanan kepada
masyarakat." Dia mengkhayalkan "... Sebuah
hubungan erat antara pekerja dan serikat,
pekerja dan masyarakat , antara pekerja dan
lingkungan alam, dan antara pekerja dan
Tuhannya. "
Ruskin's writings greatly influenced the thinking of
Victorian society in a large range of topics. His critical art
reviews could make or break the careers of
contemporary painters. His strong support of the Pre-
Raphaelites, a group of artists who rejected the
'decadence' of the established Royal Academy, gave the
group the credibility they needed to be accepted as
serious artists. Both Ruskin and the Pre-Raphaelites
believed that art should communicate truth not merely
in a display of skill but also as expressed by the artist's
whole moral outlook.
Tulisan Ruskin sangat dipengaruhi pemikiran
masyarakat Victoria dalam berbagai macam topik.
Ulasan seni yang kritis bisa membuat atau
menghancurkan karier pelukis kontemporer. Mendapat
dukungan kuat dari Pra-Raphaelite, sekelompok
seniman yang menolak 'kemunduran' dari Royal
Academy, kelompok ini memberi kredibilitas yg mereka
butuhkan untuk dapat diterima sebagai seniman serius.
Baik Ruskin dan Pra-Raphaelite percaya bahwa seni
harus menyampaikan kebenaran bukan hanya dalam
menampilkan keterampilan tetapi juga seperti
diungkapkan oleh keseluruhan pandangan moral
seniman.
William Morris
and the Birth
of the Arts and
Crafts
Movement
The Pre-Raphaelite Brotherhood
Toward the middle of the 19th century, a small
group of young painters in England reacted
against what they felt was "the frivolous art of
the day." They deeply admired the simplicities of
the early 15th century and wanted to bring
English art back to a greater "truth to nature."
Pra-Raphael Brotherhood.
Menjelang pertengahan abad ke-19,
sekelompok kecil pelukis muda di Inggris
bereaksi terhadap apa yang mereka rasakan
sebagai "seni tak keruan." Mereka sangat
mengagumi kesederhanaan dari awal abad
ke-15 dan ingin membawa seni Inggris
kembali kepada "kebenaran alam."
While the academy and art historians worshiped
Raphael as the great master of the Renaissance, these
young students rebelled against what they saw as
Raphael's theatricality and the Victorian hypocrisy and
pomp of the academic art tradition. The friends decided
to form a secret society, the Pre-Raphaelite
Brotherhood, to emulate Renaissance painting before
Raphael developed his grand manner. They adopted
a high moral stance that embraced a sometimes
unwieldy combination of symbolism and realism,
religious or romantic subjects with an insistence on
painting everything from direct observation.
Meskipun akademi dan sejarawan seni menyembah
Raphael sebagai empu Renaisans, para mahasiswa
muda memberontak terhadap apa yang mereka lihat
sebagai sandiwara Raphael dan kemunafikan
Victoria serta kemegahan dari tradisi seni akademis.
Mereka memutuskan untuk membentuk sebuah
masyarakat rahasia, Persaudaraan Pra-Raphael,
untuk meniru lukisan Renaissance sebelum Raphael
mengembangkannya dengan cara yang megah.
Mereka mengadopsi sikap moral yang tinggi yang
menganut kadang-kadang kombinasi simbolisme
dan realisme, agama atau romantisme dengan
penekanan untuk melukis segala sesuatu dari
pengamatan langsung.
The model for the painting
was Jane Burden, muse for
the Pre-Raphaelites who
discovered her and
proclaimed her to be a perfect
example of Renaissance
beauty.(She later married
William Morris)

Model untuk lukisan ini adalah Jane


Burden. Pra-Raphaelite menemukan
dia dan menyatakan dia menjadi
contoh sempurna keindahan
Renaissance. (Dia kemudian menikah
dengan William Morris)
William Morris, a wealthy British theology
student,"developed an interest in art and literature
and a deep love for everything medieval, not only art
and design, but also architecture. Morris (and friend
Pre-Raphaelite Edward Burne-Jones) joined the
gothic revival architectural practice of George
Edmund Street. Here they met Philip Webb who was
to become a lifelong friend and, together with Webb,
they formed the Arts & Crafts movement.
William Morris, seorang mahasiswa teologi Inggris kaya, Ia
mengembangkan minat dalam seni dan sastra dan Rasa Cinta
yang mendalam untuk segala sesuatu di abad pertengahan,
tidak hanya seni dan desain, tetapi juga arsitektur. Morris (dan
Rekannya di Pra-Raphael: Edward Burne-Jones) bergabung
dengan kebangkitan praktek arsitektur gothic George Edmund
Street. Di sini mereka bertemu Philip Webb yang akan menjadi
teman seumur hidup dan, bersama dengan Webb, mereka
membentuk ART & CRAFT MOVEMENT
To members of the Arts & Crafts, the Industrial
Revolution separated humans from their own creativity
and individualism; the worker was a cog in the wheel of
progress, living in an environment of shoddy machine-
made goods, based more on ostentation than function.
These proponents sought to reestablish the ties
between beautiful work and the worker, returning to
an honesty in design not to be found in mass-
produced items. In both Britain and America the
movement relied on the talent and creativity of the
individual craftsman and attempted to create a total
environment."
Bagi anggota ART & CRAFT MOVEMENTS , Revolusi
Industri memisahkan manusia dari kreativitas dan
kepribadiannya; para pekerja seperti roda gigi dalam
kemajuan, hidup dalam lingkungan yang buruk
dengan barang-barang buatan mesin, yang lebih
didasarkan pada gengsi daripada fungsi. Para
Pendukung gerakan ini berusaha untuk membangun
kembali hubungan antara karya yang indah dengan
pekerja, kembali ke kejujuran dalam desain, yang
tidak bisa ditemukan jika diproduksi secara massal.
Di Britania dan Amerika pergerakan ini bergantung
pada bakat dan kreativitas individu pengrajin dan
berusaha untuk menciptakan lingkungan yang total.
"
Morris & Co, 1861

Morris married Jane Burden and moved into his


commissioned home, Red House. Unhappy with
the quality of products available for furnishings,
Morris worked, along with his friends to create
wallpaper, tapestries and furniture
demonstrating good craftsmanship and design.
At the project's end they joined together to form
a business. "He then set up a studio in 1861 with
several associates, including architect Philip
Webb and English artists Dante Gabriel
Rossetti and Edward Burne-Jones. In 1875 he
reorganized the partnership into Morris & Co.
Morris menikahi Jane Burden dan pindah ke rumah
dinas, Red House. Tidak puas dengan kualitas produk
yang tersedia untuk perabotannya, Morris bekerja
bersama teman-temannya untuk membuat wallpaper,
permadani dan perabotan dan menunjukkan keahlian
yang baik dalam desain. Pada akhir proyek mereka
bergabung bersama untuk membentuk sebuah bisnis.
"Ia kemudian mendirikan sebuah studio pada tahun
1861 dengan beberapa rekan, termasuk arsitek Philip
Webb dan seniman inggris Dante Gabriel Rossetti dan
Edward Burne-Jones. Pada tahun 1875 ia menata ulang
kemitraan ke Morris & Co.
Morris & Co
Morris' designs were realistic. He pulled from the
nature around him as did the medieval tapestry
artists before him.... using traditional methods,
often obtaining dyes from vegetables. He
perfected the use of woodblocks for printing
wallpaper and textiles. The idea of the house
as a total work of art, with all of the interior
objects designed by the architect, emerged from
this studio and remained standard practice
throughout the Arts and Crafts movement."
Desain buatan Morris sangat realis. Dia mengambil
dari alam sekitarnya seperti yang dilakukan seniman
permadani abad pertengahan di hadapannya ....
menggunakan metode tradisional, sering
mendapatkan pewarna dari sayuran. Dia
menyempurnakan penggunaannya untuk mencetak
woodblocks wallpaper dan tekstil. Ide rumah sebagai
total karya seni, dengan semua benda-benda interior
yang dirancang oleh sang arsitek, muncul dari
studio ini dan tetap dijadikan praktik standar
menyeluruh dari ART & CRAFT MOVEMENT
As part of his attempt to reintroduce
handmade quality Morris used only
natural dyes and hand production
processes. His refusal to use modern
production techniques meant that his
products were only affordable by the
rich and therefore anathema to his
socialist beliefs."
Sebagai bagian dari usahanya untuk
memperkenalkan kembali kualitas buatan
tangan Morris menggunakan pewarna
alami dan proses produksi secara
manual. Penolakannya untuk
menggunakan teknik produksi modern
berarti bahwa produk-produknya hanya
terjangkau oleh orang kaya dan karena itu
menghujat pada keyakinan sosialis. "
"The wallpapers and prints became the height of
fashion but Morris realized that he was bound to
lose his one man battle against the degradation
of capitalist production. Success itself was proof
of this. He hated 'spending ... life ministering to
the swinish luxury of the rich', and the more
involved he became in production the more
evidence he found of the injustices and misery
caused by exploitation. By the 1870s he had
come up against the limits of artistic rebellion.
'What business have we with art unless all can
share it?' he asked."
Meski wallpaper dan cetakannya telah menjadi mode,
Morris menyadari bahwa dia hanyalah seorang laki-laki
sendirian yang bertempur melawan degradasi produksi
kapitalis. Sukses itu sendiri adalah bukti dari ini. Dia
benci 'menghabiskan waktu... melayani orang kaya
swinish yang hidup mewah ', dan ia menjadi lebih
terlibat dalam produksi sehingga lebih banyak bukti yang
dia temukan tentang ketidakadilan dan penderitaan yang
disebabkan oleh eksploitasi. Pada tahun 1870-an ia
telah menemukan batas aturan terhadap pemberontakan
artistik. "Apa urusan kita dengan seni, jika kita tak bisa
berbagi? " ia bertanya. "
Morris was a socialist and was an active
member in the Hammersmith Socialist League.
William Morris and the Kelmscott
Press
"William Morris established the most famous of
the private presses, the Kelmscott Press, at
Hammersmith in January, 1891. Over the next
seven years the press produced 53 books
(totaling some 18,000 copies). Kelmscott was
the culmination of Morris's life as a craftsman in
many diverse fields. The books Morris produced
were medieval in design, modeled on his studies
of incunabula of the fifteenth century."
Morris was fascinated not only with the
design of books but wrote a number of
books. His fantasy stories were a direct
inspiration for C. S. Lewis, The Chronicles
of Narnia and influenced Tolkein's,The
Lord of the Rings.
The Kelmscott
Chaucer is
considered
Morris's
masterpiece. 425
copies of the
book were
completed by a
total of 11 master
printers.
The Type of the Kelmscott Press

Ever consistent in his rejection of industrialized


processes, Morris designed and produced his own
typefaces, manufactured his own paper, and printed
using a hand press. He set out to prove that the high
standards of the past could be repeated - even
surpassed - in the present. His books were designed
to be read slowly, to be appreciated, to be treasured,
and thus made an implicit statement about the ideal
relationships which ought to exist between the reader,
the text, and the author a statement which we have,
by and large, continued to ignore
Pernah konsisten dalam penolakan terhadap proses-
proses industri, Morris merancang dan
memproduksi sendiri tipografi, kertas, dan
mencetak menggunakan handpress. Ia ingin
membuktikan bahwa standar tinggi dari masa lalu
dapat diulang - bahkan melampaui - di masa kini.
Buku-bukunya dirancang untuk dibaca perlahan-
lahan, untuk dihargai, untuk menjadi bernilai, dan
dengan demikian membuat pernyataan implisit
tentang hubungan ideal yang seharusnya ada di
antara pembaca, teks, dan penulis - suatu
pernyataan yang selalu saja terus kita abaikan
Troy, Chaucer, Golden
Morris's roman
'Golden' type was
inspired by the work of
the early punch cutter
Nicolas Jenson of
Venice. The Troy is
based upon studies of
manuscript blackletter.
Please note that the
versions shown here
are digital recreations
of Morris's type.
*Remember that digital
designers often try to
emulate the ink spread
and paper surface
from historical
letterpress work to
recreate the character
of the original printed
type, rather than the
actual type design.
Noteworthy for their harmony of type and
illustration, Morris' main priority was to have
each book seen as a whole: this included taking
painstaking care with all aspects of production,
including the paper, the form of type, the spacing
of the letters, and the position of the printed
matter on the page. Kelmscott books re-
awakened the lost ideals of book design and
inspired higher standards of production at a time
when the printed page was at its poorest.
Patut dicatat keharmonisan antara typografi
dan ilustrasi pada karya Morris. Prioritas
utama Morris adalah agar sebuah buku
dipandang secara menyeluruh: termasuk
peduli dengan semua aspek produksi,
kertas, bentuk jenis, jarak antara huruf, dan
posisi cetakan pada halaman. Buku
Kelmscott membangun kembali idealisme
yang hilang pada sebuah desain buku dan
menginspirasi produksi dengan standar yang
lebih tinggi pada saat percetakan mengalami
masa sulit.
Other Private Presses Inspired
by William Morris

Golden Cockerel Press England, 1920


Ashendene Press England, 1895 1935
Doves Press 1900
Golden Cockerel Press
England, 1920

The Golden Cockerel


Press distinguished itself
not only for its high quality
of printing but for the rich
wood cuts by various
artists including Eric Gill.
The masterpiece of the
Press is the Four Gospels,
which used Gill's wood cut
illustrations as well as his
type face design.
Ashendene Press
England, 1895 - 1935
Wealthy book publisher
St.John Hornby founded
this small private press.
Most Ashendene
editions used a
trademark font: Subiaco,
which was based on a
15th century semi-
humanistic Italian type
created by Sweynheim
and Pannartz in
Subiaco, Italy.
The Dove's
masterpiece is the
Dove's Bible,1903.
Stark in comparison
to Morris, the text
type was cut by
Edward Prince (also
Morris's punchcutter)
in a Jenson style
roman; the large red
initial letters were by
Edward Johnston.
Two American Private Presses:
Printing and Type Design by Bruce
Rogers and Frederic Goudy
Bruce Rogers
The Riverside Press, 18951912
In 1895 Rogers began work at the
Riverside Press in Cambridge,
Massachusetts and appointed as head of
the department responsible for the
production of limited-edition books in
1900. The freedom of constraints on his
budget and time allowed the production of
some notable books.
Bruce Rogers,
contribution to a
type sample book
entitled Peter
Piper's Practical
Principles of Plain
and Perfect
Pronunciation, for
Mergenthaler
Linotype Co.
Brooklyn, 1936.
Roger's masterpiece, The Bible for Oxford
University Press, was completed in 1935. A
lectern-sized format, the pages measured 12 x
16 inches. The type is a special version of
Centaur, 22 points, set on a 19 point body to
save space. The type was set using
Monotype's typecasting machine, in a
pioneering demonstration that beautiful, well-
designed books could be produced using
modern methods.
Frederick Goudy
The Village Press, 1903-1939
"Frederic Goudy (1865-1947), commands a
special place in the American book arts. In
addition to his work as printer, book designer,
and author, he was the first American to make
the designing of type a separate profession.
He was successful and prolific, designing 124
different typefaces and executing many of these
from the drawing stage to the casting. Printing
and type design for Goudy were activities that
required all of the skills of fine craftsmanship
while still operating in the framework of the
Machine Age."
Goudy and his wife, Bertha, operated the Village Press modeled

after the style of William Morris from 1903 to 1939 .


Goudy designed fonts for American and
British foundries. He sold 8 to the Caslon
Foundry in London and several for
Lanston Monotype Co. Some of Goudy's
most well known fonts, Copperplate
Gothic and Goudy Old Style.
Thank You
(This is Goudy Old Style
Font, lhoo)

You might also like