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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.
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!
A true Renaissance man, William Morris mastered every art and craft to which he set his hand, revelling in designs, patterns, colours and textures, and placing his stamp on sumptuous books, rugs, embroidery, wallpaper, stained glass, tapestries, curtains and furniture. The patterns and designs drawn together here show both the nuances and breadth of William Morris's visions, combining intricacy and simplicity; alternatingly dramatic and demure, dark and light, curved and angular, in a virtual dance of superb interwoven shapes.
This compilation of 48 intricate illustrations to color features perforated sheets with stained glass images of arabesque motifs from the interiors of Spain's Alhambra Palace and a mind-boggling gallery of optical illusions.
Through his own work and in his own words, the book traces the fascinating progress of William Morris, pre-Raphaelite poet and architectural student into designer, writer and pioneer socialist. His youthful enthusiasm for the Middle Ages and Gothic architecture fired him with the conviction that he must dedicate his life to 'Art'. Later letters written to friends explain how in the industrialised nineteenth century Morris become preoccupied with the loss of traditional skills and pride in work and during the last ten years of his life he became increasingly involved in political agitation, and his stories, poems and lectures all reflect his commitment to the socialist cause and his ideals for art and society. Other extracts from his letters and poems reveal more intimate aspects of Morris's life and personality, reflecting the despair and isolation he felt over the breakdown of his marriage and his reliance on the friends who helped him through his personal crisis. WILLIAM MORRIS BY HIMSELF is a tribute to an exceptional man, whose work and reputation have survived for more than a century.
The 16 boldly outlined designs — all adapted from actual stained glass works of the Arts and Crafts period — depict willowy, long-stemmed blossoms; delicate water lilies; dainty primroses in a simple floral frame; a garden with a cloistered mission in the background, surrounded by a rococo frame; and much more.
The friendship between William Morris and Edward Burne-Jones began when they met as undergraduates in 1853 and--despite their differences in temperament and in attitudes to political engagement--lasted until Morris's death in 1896. This friendship was one of the defining features of both their lives, and yet the overlap in their artistic projects has not previously been considered in detail. In this deeply thoughtful book, Caroline Arscott explores particular aspects of the paintings of Burne-Jones and the designs of Morris and concludes that there are close interconnections in theme, allusion, and formal strategy between the works of the two men. She suggests that themes of bodily pain, desire and appetite are central to their vision. Through careful readings of Burne-Jones's painting and Morris's designs for printed wallpapers and textiles, she shows that it is possible to bring together fine art and design in a linked discussion that illuminates the projects of both artists. Published for the Paul Mellon Centre for Studies in British Art