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William Morris and his Palace of Art is a comprehensive new study of Red House, Bexleyheath; the only house commissioned by William Morris and the first independent architectural work of his close friend, Philip Webb. Morris moved in to Red House as an ebullient young man of 26, with an independent income and a head brimming with ideas and the persistent question of ‘how best to live? Red House, together with its Pre-Raphaelite garden, stands as the physical embodiment of his exuberant spirit, youthful ambition, passionate medievalism, creativity and great sense of possibility. For five intense years from 1860–5, it was a place of halcyon days – happy family life, loyal friendship, good humoured competition, and the jovial campaign of decorating; furnishing the house and designing the garden. Drawing on a wealth of new physical evidence, this book argues that Red House constitutes an ambitious and critical chapter in his design history. It will re-consider the inspiration it provided for the founding of ‘the Firm’ of Morris, Marshall, Faulkner & Co. (later Morris & Co.), in 1861, and the vital collaboration of Webb, Burne-Jones, Rossetti and their intimate circle in realising Morris’s dream for his house.
Red House occupies an extraordinary place in British architectural history. It was the first and only house that William Morris ever built. It was the first independent architectural commission from his friend, Philip Webb. The challenge of furnishing the house inspired Morris to found the design firm of Morris & Co. It had a great influence on the Arts & Crafts Movement. But it is also a house that captured William Morris's heart. He was only twenty-five when, in 1858 he decided to buy the site at Bexleyheath, just outside London, but in a rural Kentish setting. He had recently married Jane Burden, daughter of an Oxford ostler, whose particular beauty became inspiration for so much pre-Raphaelite art. With his young wife and his wealth he planned to produce a vision of earthly paradise at Red House. Rosetti described it as 'more a poem than a house', Morris called it 'our place of art', and when he was obliged to give it up for financial reasons in 1865, he resolved never to return. His biographer recorded that he could 'never set eyes on it again, confessing that the sight of it would be more than he could bear'. Red House was saved from an uncertain future in January 2003 by the National Trust, and has already opened its doors. Visitors will be able to see some of the original furnishings but many are now at Kelmscott Manor, the William Morris Gallery in Walthamstow, the Victoria & Albert Museum and other locations. This book, however, will provide both the story of Red House and a 'virtual tour' to enable the reader to see how the house looked and functioned when William Morris, his family and friends lived there.
Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.
In his short life, William Morris (1834-96) combined the roles of poet, author, painter, designer, translator, lecturer, political activist, journalist, weaver, bookmaker, and businessman. This volume draws together influential voices from different disciplines who have participated in the recent critical, political, and curatorial revival of his work, with essays exploring the contemporary resonance of his exceptional legacy. As a critic of capitalism, his thinking has thrived in these years of financial crisis; as a theorist of work and craftsmanship, his legacy interacts with a more recent ethics of making that questions the values of 'off-shored' production; and as a protector of landscape and buildings Morris's concern with what is precious strikes a chord in our age of environmental crisis. At the same time, a careful and scholarly approach observes the particularity of Morris's context, in a way that confounds the 'false friends' of hasty historical reception and reveals unexpected connections.
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These essays expose how meaning has been produced around the Great Exhibition. It contains readings of the historical record of the exhibition, exploring the use of industrial knowledge & the contested definitions of nation & colony.
This book examines nineteenth-century interests in beauty, and considers whether these aesthetic pursuits were necessary to British public life.
This exquisite anthology welcomes you into an enchanted realm rich with myth, mystery, romance, and abounding natural beauty. Gorgeous fine art and photographs, literature, essays, do-it-yourself projects, and recipes provide hours of reading, viewing, and dreaming pleasure along with a multitude of ideas for modern-day living and entertaining with a distrinctive fairy touch.
William Morris (1834–96) was an English poet, decorative artist, translator, romance writer, book designer, preservationist, socialist theorist, and political activist, whose admirers have been drawn to the sheer intensity of his artistic endeavors and efforts to live up to radical ideals of social justice. This Companion draws together historical and critical responses to the impressive range of Morris’s multi-faceted life and activities: his homes, travels, family, business practices, decorative artwork, poetry, fantasy romances, translations, political activism, eco-socialism, and book collecting and design. Each chapter provides valuable historical and literary background information, reviews relevant opinions on its subject from the late-nineteenth century to the present, and offers new approaches to important aspects of its topic. Morris’s eclectic methodology and the perennial relevance of his insights and practice make this an essential handbook for those interested in art history, poetry, translation, literature, book design, environmentalism, political activism, and Victorian and utopian studies.