The art and industry movement of the thirties wanted to integrate artists into industry, improve the standard of consumer goods, democratise art and improve public taste. There was a strong interest in education, and Frank Pick, who was one of the leading figures of the Council for Art and Industry, used his influence to nudge the Royal College of Arts towards the teaching of industrial design and hastened the resignation of William Rothenstein as principal.
I said earlier that this movement for design reform and education reform was able to push forward on all fronts like this – on the industrial front, persuading manufacturers that their products needed to be better designed, and on the consumer front, dissuading shoppers from buying badly-designed objects – because of its belief in objective standards of beauty and the spiritual potential of good design.
This commitment to objective artistic standards answered a question that had puzzled me: Why, if poor design was supposed to be a brake on sales was it necessary to educate the consumer in good design?
Another puzzle had been an influential essay written at the end of the 1930s by Bernard Leach, Towards a Standard. Towards a Standard is the opening chapter of Leach’s A Potter’s Book, which has been in print since 1940 and which has shaped the thinking of generations of potters. It expresses an anti-industrial philosophy as severe as anything in Ruskin and I read it as a restatement of the Arts and Crafts philosophy. Leach was active in the rearguard of the Arts and Crafts Exhibition Society, utterly opposing its engagement with industry, and he resigned over its acceptance of items designed for manufacturing in its 1938 exhibition.
Leach took an anti-intellectual line in his essay, in fact an irrationalist line, in which I read the ideas of Bergson, although I don’t have any direct evidence that Leach had read Bergson. But Bergson’s influence was great in the interwar years and the frequency of terms like “vitality” in art criticism and in Leach’s writing, come from him indirectly if not directly.
Leach thought pottery could help to regenerate a civilisation marred by industry and ravaged by war and political conflict. The standard that potters were supposed to follow was absolute and unchanging, was not personal taste and was most certainly not a matter of consumer preference.
Thus in the modernist culture of the Council for Art and Industry and the anti-modernist aesthetic of A Potter’s Book, there is the same crusade to establish an absolute standard for artists and a mission among a benighted public who don’t appreciate “good design” or what they ought to have in their homes.