Marshall Colman writes:
“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…”
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