William morris & co
Morris & Co. Collections
As a political theorist, publisher, environmental campaigner, poet, as well as an outstanding designer, William Morris (1834–1896) was one of the single most influential figures of the nineteenth century. Under his direction, Morris & Co. grew to the status of Arts & Crafts icon that it remains to this day.
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William Morris - the story of Morris wallpaper and other creations: how to create unique ornaments
Interior
Englishman William Morris distinguished himself in various fields, but he went down in history as the man who first declared design a high art.
If William Morris had been told that a century and a half later he would be remembered only as one of the founders of the Arts and Crafts movement (arts and crafts), he would certainly be surprised, if not offended.
Photograph of William Morris (1834–1896) taken in London in the 1870s
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
Morris worked with enviable enthusiasm in many humanitarian fields. In his youth, he tried himself as an artist, however, he did not particularly succeed - the founder of the Pre-Raphaelite brotherhood, Dante Gabriel Rossetti, ridiculed his attempts to write.
Fireplace in the Oak Room at Whitewick Manor, West Midlands, architect Theodor Mander, designer Edward Ould. Curtains Cray by Morris
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
On the other hand, Morris became a professional art critic and medievalist. In addition, he was an active public figure (in 1885 he participated in the creation of the Socialist League and often wrote for its magazine The Commonweal), as well as a poet, translator and publisher (founded the Kelmscott Press).
Armchair upholstered in Bird wool, circa 1870
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; archive of the press service
The main thing that determined the path of Morris in art and his style was the Middle Ages, which he studied and idolized. The dense ornamentation on the wallpaper, fabrics and carpets of Morris is reminiscent of medieval tapestries; stained-glass windows and wood paintings are Gothic analogues, and even the books designed by him are similar to manuscripts of the 11th-13th centuries.
Page and cover of William Morris' A Book of Verse, 1870
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
Page from Omar Khayyam's Rubaiyat, translated by William Morris, 1872 edition with illustrations by Morris himself, Charles Fairfax Murray and Edward Burne-Jones
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
Page and cover of William Morris' A Book of Verse, 1870
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; archive of the press service
But one should not think that Morris was mindlessly copying.
In his ornaments, he tried to “cross” Gothic with naturalism and believed that nature is the best source of inspiration.
Sample wallpaper designed by William Morris, Chrysanthemum (1886)
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
Sample wallpaper designed by William Morris, Kennet (1883)
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
In one of his lectures, he said: “Any embellishment is meaningless if it does not evoke pleasant memories. Wouldn't it be better to have wallpapers or curtains that evoke thoughts of Picardy meadows or vines in your garden than dull rows of fake flowers and leaves that can only be counted out of boredom?
Living room of writer Thomas Carlisle in London with Willow Bough wallpaper and tablecloth designed by Morris
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
He urged his contemporaries to base their ornaments on simple English flowers: roses, lilies and daisies, rather than exotic overseas plants.
And he himself set an example: the very first wallpaper that Morris invented in 1862 - Trellis - was “copied” from a rose bush from his own garden.
Trellis wallpaper (Morris' first wallpaper ornament) from the entrance hall of Standen House in Sussex. While sketching, Morris decided he was not good at birds and asked his friend, the architect Philip Webb, to draw them
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; archive of the press service
Although Morris is considered one of the promoters of wallpaper, he was not an ardent admirer of them. At home, he practically did not use them, preferring fabrics and tapestries. Morris, like many wealthy Victorians, was a victim of the prejudice that wallpaper was a cheap decor option. On the other hand, the principles of wallpaper production (since 1813 they were printed on steam-powered machines) ran counter to Morris's desire to restore and preserve craft skills and manual labor.
See also: William Morris' mansion in Kelmscott
William Morris' bedroom at Kelmscott Manor, his summer residence in Oxfordshire
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; archive of the press service
“We, designers and artists, are now the only representatives of handicraft art, which in the conditions of market production is actually dying out,” he said. Unfortunately, the views of Morris the designer were contrary to the principles of Morris the socialist.
Willow, Artichoke, Scroll and Pimpernel wallpaper from the Archive Prints collection by Morris & Co. in 2011 in honor of the 150th anniversary of the factory
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; archive of the press service
He believed that beautiful and comfortable houses, furniture, decor items should be available to the masses, and this was hardly possible without the development of machine production.
Even paper wallpapers designed by Morris (not to mention fabrics, furniture and glass) were far from affordable for everyone - because of the complex multi-color patterns, the process of making them was long and expensive.
Sample tiles designed by William Morris from the archives of the Victoria and Albert Museum, London, 1875 ornament
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
Sample tiles designed by William Morris from the archives of the Victoria and Albert Museum, London, 1860 ornament
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
Sample tiles designed by William Morris from the archives of the Victoria and Albert Museum, London, 1864 ornament
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
Samples of tiles designed by William Morris from the archives of the Victoria and Albert Museum, London, 1864 ornaments
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
Admittedly, Morris's style did not come into fashion immediately and never gained absolute popularity.
For example, Oscar Wilde hated his ornaments. In the early 1860s, they were of interest only to friends and colleagues of Morris - designers, poets, artists, and only by the 1880s penetrated middle-class homes and decorators' reference books.
Archival pattern of wallpaper depicting pomegranates, lemons and olives, 1862. This pattern formed the basis of the famous Fruit 9 wallpaper0003
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
A contemporary interpretation of the Fruit wallpaper, part of the Archive Prints collection by Morris & Co. in 2011
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; archive of the press service
Many wealthy people began to order from Morris not only wallpapers and fabrics, but also entire interiors.
He was known as a jack of all trades: clients instructed him to design walls and windows, choose furniture, tile a fireplace.
Design by Philip Webb, painted by William Morris with scenes from the life of St. George, 1861-1862
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
It was Morris' versatility and recognizable style that made him the first British interior designer in the modern sense of the word.
Morris stained glass, King Arthur and Sir Lancelot from the Tristan and Isolde series, commissioned by merchant Walter Dunlop, 1862, Bradford
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
Morris stained glass window, Angel with Violin, 1861, All Saints Church, Selsley
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press office archive
Morris stained glass window, “In the beginning was the word”, 1861, All Saints Church, Selsley
Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press service archive
Text: Ksenia Oshchepkova
Photo: Bridgeman/fotodom; Victoria and Albert Museum, London; Andreas Von Einsiedel/NTPL; Nadia Mackentie/ntpl; Jonathan gibson/ntpl; Akg Images/east news; press archive
William Morris - English writer, poet, publicist, politician, artist, designer, engraver, a truly renaissance personality. In 1859, William married Jane Burden, who is depicted in many paintings and photographs by DG Rossetti as a "femme fatale". In the same year, Morris and his wife moved into his famous "Red House", which was specially designed for him by his friend Phillip Webb. In 1861, together with Webb, Rossetti, Burne-Jones, F. M. Brown, Marshall and Charles Faulkner, Morris founded the firm of Morris, Marshall, Faulkner and Co. The company was engaged in the production of furniture, fabrics, carpets. Morris also played an important role in the development of private printing, establishing his own publishing house, Kelmscott Press, in 1890. Until now, a collection of works by W. Morris and his contemporaries is kept in his London house, in Welthamstow and in the estate of Kelmscott (Oxfordshire). Morris began in literature as a poet (The Defense of Guenevere and Other Poems, 1858). Among other works is the voluminous poem "The Life and Death of Jason" (1867), so appreciated by Borges and based on Scandinavian and Greek legends, the cycle of poems "The Earthly Paradise" (1868). The origins of William's fairy tale fiction (considered by many critics to be his most significant works, original in concept and execution, although written under the undoubted influence of Old Norse folklore and the Homeric epic) "A Tale of the House of the Wolfings" (1889 .), "The Roots of the Mountains" (1890), "The Well at the World's End" (1896), "The Wood Beyond the World" (1894) had a huge impact on subsequent fantasy creators - Tolkien, Lewis, Dunsany and others. Author of theoretical works and lectures on art, one of the first English socialists, founder of the Socialist League. As a member of the Social Democratic Federation and the Socialist League, Morris' work as a socialist includes his lectures, the story The Dream of John Ball (1888), the utopian novel News from Nowhere, or the Age of Peace (1890), poems in the collection "Poems by the Way" (1891) and a number of other works. 
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Born in Walthamstow, near London, in the family of a wealthy businessman. In February 1848 he entered Marlborough College, intending to study at Oxford University in the future. A lifelong awareness of church architecture, archeology and medieval history determined his commitment to the Middle Ages. He graduated from Oxford University in 1856 with a Bachelor of Arts degree; while still at university, he became interested in the work of John Ruskin and the art of the Middle Ages, one of the founders of the Pre-Raphaelite Brotherhood. 
Burne-Jones and Morris defined the main concept of the firm and focused on emulating the medieval craft workshop. They defined art as "the expression of human joy in work" and viewed it as an essential part of human life. While working for this firm, Morris created a number of new types and printing techniques in the spirit of the pioneer printers (his Kelmscott Press volume of Chaucer's Canterbury Tales is considered one of the finest books ever printed). 
Translated Icelandic sagas that influenced his own work; translator of the Aeneid and the Odyssey. 
