The impact of the Industrial Revolution on traditional craft design on the art of design what crisis?

Between 1820 and 1850, as the first industrial revolution was completed in the major European countries, the great impact of the industrial revolution on the traditional craft design and the serious crisis of art design formed under this impact was finally exposed.

First of all, under the impact of industrialized production, part of the handicraft design was incorporated into the industrial system, craftsmen became skilled workers; part of the handicraft design is shrinking, a large number of workshops are closed, the craftsmen are unemployed, the skills are lost, and the crafts are on the verge of extinction; part of the handicraft design retreated to the poor countryside, by virtue of the countryside, the closed transportation, the information stagnation, the backwardness of the economy, life, monotony, conservative concepts and to stay in the poor countryside. Part of the handicraft design retreated to the poor countryside, by virtue of the rural transportation blockage, information stagnation, economic backwardness, life of a single, conservative concepts and survive; part of the handicraft design in order to distance themselves from the industrial product design, but to a certain extent away from the nature of the utility, and vigorously develop their extraordinary skills and a high degree of artistic ornamental, by the life of the necessities of life to the life of the transformation of the ornamental products.

Secondly, the further development of social division of labor brought about by industrialization has separated design and production activities, leading to the emergence of design specialization. Design and production activities in traditional handicrafts are one and the same; what is in the mind, should be done by hand. Craftsmen, as designers and creators of artifacts, know more about the conditions and needs of practical use, and at the same time have more comprehensive artistic skills, and thus are more creative. The machine mass production cuts off the inherent unity between design and production, and the long-term repetition of monotonous and uniform mechanical operation by workers inevitably leads to the decline of creativity. Not only that, the gap between art and skill is getting wider and wider, artists are addicted to their own ivory tower, do not care to engage in the design of daily necessities, while the factory system of designers, producers and lack of the necessary cultural literacy and artistic skills.

Finally, the Industrial Revolution shook the economic foundation of the aristocracy, which had a high level of cultural and artistic literacy, making it difficult for them to continue to play the role of craftsmen and designers as guides of artistic interest. At the same time, industrial mass production also created a number of emerging bourgeoisie, many of the lowly origin, shallow and ignorant of the profiteers in order to change the family, although they also want to attach to elegance, but ultimately difficult to get rid of its mercenary, rude style. This change in the social structure, making the whole society's aesthetic standard generally decline.

In 1851, the British government held its first World's Fair in London in order to review the great achievements of the Industrial Revolution and to demonstrate Britain's strong national strength in looking down on the rest of the world. The exposition in the focus on showing the great power of industrial technology at the same time, but also comprehensively exposed the serious problems in the field of product design. The poor aesthetic quality of industrial products and the loss of craft design tradition is y disturbing. The Times of London at the time could not help but lament: "The decorative design in the exhibition is obviously lacking in clear principles - in our opinion, the whole of Europe's craftsmen are completely in a mess." This chaotic situation is mainly manifested in two major drawbacks: first, blind retro, style miscellaneous; second is a pile of decorative, flashy.