|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
 |
|
||||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
|
|||||||||||||
 |
 |
 |
|
|||||||||||||||||
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
|||||||
 |
 |
 |
 |
 |
 |
|
||||||||||||||
 |
|
|||||||||||||||||||
|
||||
 The production of decorative and design works by Kilpin reflects Arts and Crafts and Art Nouveau influences in his work and training. With the establishment of the Arts and Crafts movement in Great Britain in the 1880s, a number of artists executed designs and decorative work for industry and for private individuals. Artists were encouraged to experiment in design and receive training in the crafts after the first Great Exhibition at the Crystal Palace in London in 1851, and many artists sought to elevate the status of craft to the level of fine art. The National Arts Training School system, where Kilpin was educated, included training in lettering and illumination and art students might find employment working for publishers and newspapers. |
