Collezione
Walter Crane
Esplora stampe d'arte selezionate per case distintive e interni ricercati.
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Colombo - Walter CranePrint
Prezzo originale Da £28.00 GBPPrezzo scontato Da £28.00 GBP Prezzo originale -
Il corteggiamento di Columbia - Walter CranePrint
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Chicago, illustrazione per l'Esposizione Colombiana Universale - Walter CranePrint
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Il fossato e il palazzo vescovile, Cattedrale di Wells - Walter CranePrint
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Pagina del titolo di Baby's Own Aesop - Walter CranePrint
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Mattina, Mezzogiorno, Sera, Notte - Walter CranePrint
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Illustrazione per Il trombettiere fatto prigioniero - Walter CranePrint
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The Baby's Own Aesop: Indice - Walter CranePrint
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Illustrazione per L'uomo che non accontentava nessuno - Walter CranePrint
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Solone, il saggio legislatore di Atene - Walter CranePrint
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Nei tempi più antichi, una semplice corsa podistica era l'unico evento - Walter CranePrint
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La mia anima è una barca incantata - Walter CranePrint
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Re Artù: Sir Bedivere getta Excalibur nel lago - Walter CranePrint
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Nave si schiantò contro nave, finché i morti dell’esercito persiano non cosparsero il mare come fiori - Walter CranePrint
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Spesso si fermava sulle mura di Troia - Walter CranePrint
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Ruth e Boaz - Walter CranePrint
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Il francese - Walter CranePrint
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Il Rinascimento di Venere - Walter CranePrint
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Siracusa, Fiume Anapo - Walter CranePrint
Prezzo originale Da £28.00 GBPPrezzo scontato Da £28.00 GBP Prezzo originale -
Il Norseman - Walter CranePrint
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Corteggiatori - Walter CranePrint
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Un'illustrazione della favola di Ercole e il carrettiere - Walter CranePrint · Framed
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Diana ed Endimione - Walter CranePrint · Framed
Prezzo originale Da £28.00 GBPPrezzo scontato Da £28.00 GBP Prezzo originale -
Beatrice e Lionel Crane - Walter CranePrint · Framed
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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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