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Chief exponent of the Arts and Crafts movement in Victorian England, renowned artist and craftsman William Morris (1834–96) created a host of stunning patterns for wallpaper, fabrics, tapestries, floor coverings, and other decorative projects. Many of these designs took nature as their theme. Now Carolyn Relei has skillfully rendered 100 of Morris's best designs for this superb collection of stained glass motifs. Among the 100 black-and-white designs depicted here are lush florals and vines, exotic birds amid magnificent displays of garden flowers, a charming bouquet of daffodils, and many more. Artfully displayed in circular, oval, and rectangular frames, these splendid classics — all easily adaptable as templates — will appeal to artists and artisans who admire the work of one of the Victorian era's most influential craftsmen.
An insightful corrective demonstrating the Arts and Crafts Movement's indelible impact on British and American stained glass Beautifully illustrated and based on more than three decades of research, Arts & Crafts Stained Glass is the first study of how the late-19th-century Arts and Crafts Movement transformed the aesthetics and production of stained glass in Britain and America. A progressive school of artists, committed to direct involvement both in making and designing windows, emerged in the 1880s and 1890s, reinventing stained glass as a modern, expressive art form. Using innovative materials and techniques, they rejected formulaic Gothic Revivalism while seeking authentic, creative inspiration in medieval traditions. This new approach was pioneered by Christopher Whall (1849-1924), whose charismatic teaching educated a generation of talented pupils--both men and women--who produced intensely colorful and inventive stained glass, using dramatic, lyrical, and often powerfully moving design and symbolism. Peter Cormack demonstrates how women made critical contributions to the renewal of stained glass as artists and entrepreneurs, gaining meaningful equality with their male colleagues, more fully than in any other applied art. Cormack restores stained glass to its proper status as an important field of Arts and Crafts activity, with a prominent role in the movement's polemical campaigning, its public exhibitions, and its educational program. Published for the Paul Mellon Centre for Studies in British Art
Sixteen lovely illustrations: "Adam Naming the Beasts," "Sleeping Apostles," "Angel and Woman," adaptations of wallpaper and textile designs, and much more. Color and place near a source of bright light for stained glass effects.
Over 100 authentic, royalty-free patterns from one of the most flamboyant of artistic periods, including outlines of a lovely winged damsel, florals and vines, a vase, a butterfly, and much more. All displayed in rectangular, oval, circular, and semi-circular frames for use by craftspeople and stained glass workers at all levels of expertise.
Sharp, smart, dazzling Art Deco designs literally shine through a striking mix of stained glass pictures. Sixteen ornate full-page illustrations include people, buildings, abstracts, and ironwork. Hold the colored pages up to the light and watch them come to brilliant life!
The many achievements of William Morris are described in this volume, which explores his multifaceted career as a political writer and activist, an artist and designer, a man of letters, and a successful businessman.
This useful volume presents the major works of the five leading Pre-Raphaelite poets. Foremost in the collection, and included in their entirety are D. G. Rossetti's The House of Life, C. G. Rossetti's "Monna Innominata," William Morris's "Defence of Guenevere," Swinburne's Atalanta in Calydon, and Meredith's "Modern Love." Complementing these major poems is a fine, generous selection of the poets' shorter pieces that are typical of their work as a whole. For this second edition, Cecil Lang has substituted two early Swinburne poems, "The Leper" and "Anactoria," for Fitzgerald's The Rubáiyát of Omar Khayyám. These poems, which the editor describes as "shocking," show a new aspect of Swinburne not discussed previously. Lang's Introduction describes briefly the founding of the Pre-Raphaelite Brotherhood, discusses each of the Pre-Raphaelite poets, both individually and in relation to the others, and grapples with the questions of definition of Pre-Raphaelitism and the similarities between its painting and poetry. The book is appropriately illustrated with thirty-two works by D. G. Rossetti, John Ruskin, William H. Hunt, and other Pre-Raphaelite artists. This is the only anthology available that provides a representative selection of the work of these important poets. It will be indispensable to students of Victorian poetry and appreciated by readers interested in the Pre-Raphaelites.
In Fiona MacCarthy’s riveting account, Burne-Jones’s exchange of faith for art places him at the intersection of the nineteenth century and the Modern, as he leads us forward from Victorian mores and attitudes to the psychological, sexual, and artistic audacity that would characterize the early twentieth century.