The opening of Japan to trade by Admiral Perry in 1854 was a significant event. Japanese design, its simplicity and affinity to nature, greatly influenced many of the western designers. The Aesthetic Movement is sometimes referred to as Anglo-Japanese style.

 

The name Aesthetic for the movement came from Charles Locke Eastlake's 1868 book Hints on Household Taste. Eastlake favored the personal tradition of handcraft over the commercialism of home decoration. He used the term aesthetic to refer to a style of furnishings lighter in color, form, and carving with "honest" construction with no pretense of imitating antique pieces. Americans conveniently refer to the style as Eastlake. 

The Herter Brothers in New York and Daniel Pabst in Philadelphia opened factories to produce these high-quality, crafted goods. An 

   

His disciple William Morris took a more realistic approach which resulted in broader appeal. A factory owner, poet, writer, artist, and craftsman Morris was adept at many art forms, among them textiles, wall covering, and book design. A prominent style of his was the use of stylized natural motifs similar to those of medieval tapestries. Furniture was generally constructed of oak, with minimal carving. Joinery was proudly exposed. Seats were simply made of rush or covered with leather. 

  

By 1890 the Arts and Crafts Movement spread to the U.S. where various craft communities developed such as Roycroft. The most successful was that of Gustav Stickley. In 1901 he created the magazine The Craftsman to spread the word to smaller communities. His oak furniture designs were featured including the iconic reclining armchair, known as the Morris chair, his homage to William Morris. 

Architects Charles and Henry Greene of California designed exteriors and interiors, known as Shingle, or Bungalow, style, blending Japanese aesthetics and American practicality.  

 

The early work of architect Frank Lloyd Wright was known as Prairie style. Working for Louis Sullivan in Chicago Wright became entrenched in the concept of total environmental design, later known as organic architecture. Like many others Wright was greatly influenced by Japanese design after studying art there.  

 

The colors of the Arts and Crafts accessories, including textiles, and ceramics are, soft, earthy reds and greens. Simple plant forms were executed, similar to Japanese ceramics. Work in copper and leaded stained glass, reminiscent of medieval craft, were also produced.

  

 

Where the Americans differed from their English counterparts was the acceptance of the machine as a necessity to bring the finest in design to the average person.  

 

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