In assessing the legacy of the late nineteenth-century Arts and Crafts movement, historians have traditionally emphasized its aesthetic rebellion against Victorian industrial mass production. Proponents of this view argue that the movement’s founder, William Morris, championed a return to artisanal craftsmanship primarily to rescue the decorative arts from the sterile uniformity of the machine age. However, a revisionist school of historians contends that this aesthetic focus obscures the movement’s far more radical socioeconomic objectives. For these revisionists, the movement was fundamentally a critique of the alienation inherent in capitalist labor relations. By advocating for the reunification of the designer and the maker, Morris and his contemporaries sought not merely to beautify the domestic sphere, but to restore the intellectual autonomy of the worker, which had been fractured by the assembly line’s division of labor. Furthermore, they envisioned the revival of medieval guild structures as a viable alternative to the exploitative factory system, promoting cooperative workshops that guaranteed fair wages, integrated artistic education with manual labor, and abolished the hierarchical distinction between "fine" and "applied" arts. Even the traditionalist focus on rescuing decorative arts from machine uniformity is reinterpreted by revisionists as a mechanism to achieve socioeconomic reform rather than a purely aesthetic end.
According to the revisionist historians mentioned in the passage, the Arts and Crafts movement sought to achieve all of the following objectives EXCEPT:
- ACombining the roles of design and execution to combat worker alienation.
- BInstituting collaborative labor models that provided both equitable compensation and artistic training.
- Establishing a predominantly agrarian economic model to systematically replace urban industrial centers.Answer
- DUtilizing the preservation of decorative arts from industrial uniformity as a mechanism for broader social reform.
- EErasing the elevated status of fine arts in comparison to practical, applied crafts.