Sammlung
Walter Crane
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Protestant Cemetery, Rome - Walter CranePrint · Framed
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The Briar Rose (Centre Panel) - Walter CranePrint · Framed
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The House that Jack Built - Walter CranePrint · Framed
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Neptune's Horses - Walter CranePrint · Framed
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Winter - Walter CranePrint · Framed
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Sommer - Walter CranePrint · Framed
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Taubendecken-Tapetendesign – Walter CranePrint · Framed
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Daheim - Walter CranePrint
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Ja, wahrlich, du bist Odysseus – Walter CranePrint
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Mit Mühe blickte er sie an, als sie vorbeigingen – Walter CranePrint
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Nymphen und Dryaden – Walter CranePrint
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Die Schwanenjungfrauen - Walter CranePrint
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Schwan, Binse und Iris Tapete – Walter CranePrint
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Sie prallten mit gewaltiger Wucht auf die persische Armee – Walter CranePrint
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Die Figur der Göttin war eine Kolossale - Walter CranePrint
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Die Menge bejubelte ihn mit lauten Zurufen – Walter CranePrint
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Der Wind: Gott sandte einen Windstoß vom Süden – Walter CranePrint
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Süß, durchdringend süß war die Musik von Pans Flöte - Walter CranePrint
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Sie verwandelte sie in eine Spinne – Walter CranePrint
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Er stand stumm vor dem König – Walter CranePrint
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Er rannte auf das Pferd zu und ergriff den Zaum – Walter CranePrint
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Er verließ die Versammlung, sein Gesicht in seinen Umhang gehüllt – Walter CranePrint
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Er trank den Inhalt, als wäre es ein Zug Wein gewesen – Walter CranePrint
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Demeter freute sich, denn ihre Tochter war an ihrer Seite - 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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