Collection
Walter Crane
Explore curated art prints selected for distinctive homes and considered interiors.
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Dove Ceiling Wallpaper Design - Walter CranePrint · Framed
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Yea, Verily, thou art odysseus - Walter CranePrint
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With an effort he looked at them as they passed - Walter CranePrint
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Nyads and Dryads - Walter CranePrint
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The Swan Maidens - Walter CranePrint
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Swan, Rush and Iris Wallpaper - Walter CranePrint
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They crashed into Persian army with tremendous force - Walter CranePrint
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The figure of the Goddess was a Colossal one - Walter CranePrint
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The multitude saluted him with loud acclamations - Walter CranePrint
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The Wind: God Sent a Gust from the South - Walter CranePrint
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Sweet, piercing sweet was the music of Pan's pipe - Walter CranePrint
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She Changed Her into Spider - Walter CranePrint
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He stoods silent before King - Walter CranePrint
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He ran toward the horse and seized the bridle - Walter CranePrint
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He left the assembly, hiding his face in his cloak - Walter CranePrint
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He drank the contents as though it were a draught of Wine - Walter CranePrint
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Demeter rejoiced, for her daughter was by her side - Walter CranePrint
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He became a target for every arrow - Walter CranePrint
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For two days and two nights the boat was tossed hither and thither - Walter CranePrint
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Keats' Tomb in the Protestant Cemetery, Rome - Walter CranePrint
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Red House, Bexleyheath - Walter CranePrint
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Porte de France, Tunis - Walter CranePrint
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Almond Blossom and Swallow (Wallpaper Design) - Walter CranePrint
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Artist Biography
Walter Crane
Crane heard William Morris lecture on Art and Socialism in 1884 and became a committed socialist on the spot. From then on he divided his time between designing wallpapers for the drawing rooms of the wealthy and drawing cartoons for Justice, Commonweal and The Clarion, the socialist newspapers of the day. He saw no contradiction: good design was a political act, and capitalism produced ugly objects.
He began as a children's book illustrator, apprenticed to the wood engraver W.J. Linton. His Toy Books for the publisher Routledge, produced from 1865 onward, used flat areas of colour, strong outlines and decorative borders influenced by Japanese woodblock prints and the Pre-Raphaelites. They were among the first mass-produced children's books to treat illustration as a design problem rather than an afterthought.
During a lecture tour of the United States he spoke in favour of clemency for the anarchists sentenced to death after the Haymarket Affair. His wealthy American patrons cancelled engagements. Crane did not retract.
He became Vice President of the Healthy and Artistic Dress Union, a movement promoting loose-fitting clothing in opposition to tight Victorian corsetry. He wrote The Claims of Decorative Art, arguing that decorative art was not a lesser form. He was Art Director of the Art Workers' Guild and the first president of the Arts and Crafts Exhibition Society.
He wanted to be taken seriously as a painter of allegorical canvases, but the galleries would not exhibit them. The children's books and the socialist cartoons are what lasted. Morris would have appreciated the irony.
He began as a children's book illustrator, apprenticed to the wood engraver W.J. Linton. His Toy Books for the publisher Routledge, produced from 1865 onward, used flat areas of colour, strong outlines and decorative borders influenced by Japanese woodblock prints and the Pre-Raphaelites. They were among the first mass-produced children's books to treat illustration as a design problem rather than an afterthought.
During a lecture tour of the United States he spoke in favour of clemency for the anarchists sentenced to death after the Haymarket Affair. His wealthy American patrons cancelled engagements. Crane did not retract.
He became Vice President of the Healthy and Artistic Dress Union, a movement promoting loose-fitting clothing in opposition to tight Victorian corsetry. He wrote The Claims of Decorative Art, arguing that decorative art was not a lesser form. He was Art Director of the Art Workers' Guild and the first president of the Arts and Crafts Exhibition Society.
He wanted to be taken seriously as a painter of allegorical canvases, but the galleries would not exhibit them. The children's books and the socialist cartoons are what lasted. Morris would have appreciated the irony.
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