Desiger Wallpaper Biography
Source(google.com.pk)The talents and many accomplishments of William Morris (1834 – 1896) defy easy summary. He was a remarkable designer of home furnishings, and he is generally acknowledged as the father of the Arts & Crafts movement in both Britain and America. His designs are still in production over 100 years after his death and they still influence people today.
In September 1848 The Morris family moved to Water House, in what is now Forest Road, Walthamstow, Essex. Since 1950 Water House has housed the William Morris Gallery.
In January 1853 Morris went to Exeter College, Oxford, to study theology. He met Edward Burne-Jones who became a life-long friend and design collaborator in many design projects.
The two of them, with another friend, traveled in 1855 to France visiting cathedrals and enjoying French life.
Dante Gabriel Rossetti had occupied the same rooms in the days of the Pre-Raphaelite Brotherhood. Morris and Burne-Jones later designed – and had made – their own furniture for their lodgings. This endeavor presaged the two friends’ later collaborations.
Morris is rather doing the magnificent there, and is having some intensely medieval furniture made – tables and chairs like incubi and succubi. He and I have painted the back of a chair with figures and inscriptions in gules and vert and azure, and we are all three going to cover a cabinet with pictures.”
Topsy [Morris] has had some furniture (chairs and table) made after his own design; they are as beautiful as medieval work, and when we have painted designs of knights and ladies upon them they will be perfect marvels.
In 1858, Morris proposed to Jane Burden, the daughter of a local stableman, They married on April 26, 1859 and embarked on a six week honeymoon. At the time of their marriage, Morris was living at 13 George Street.
In 1859, Phillip Webb, friend and architect designed Red House for the Morris family. They moved into the house at Bexleyheath, Kent in June of 1860. Only ten miles from London, the house was built on an acre in a rural setting, and cost £ 4,000. to build.
Red House, due to its innovative design, became a starting point for the Arts & Crafts movement in England.
The front door at Red House. Over the door is a painted Latin inscription: “Dominus custodiat exitum tuum et introitum tuum” which is a verse from the Psalms 128:8. It translates as follows: The Lord shall preserve thy going out and thy coming in.
William Morris was a leading member of the Arts and Crafts Movement. He is best known for his pattern designs, particularly on fabrics and wallpapers. His vision in linking art to industry by applying the values of fine art to the production of commercial design was a key stage in the evolution of design as we know it today.
William Morris was an artist, designer, printer, typographer, bookbinder, craftsman, poet, writer and champion of socialist ideals. He believed that a designer should have a working knowledge of any media that he used and as a result he spent a lot of time teaching himself a wide variety of techniques. Like many designers of his time, Morris was skilled in a wide range of arts and crafts. For example, although he is famous for his wallpaper designs, he also founded the Kelmscott Press which published high quality hand bound books and was very influential in the revival of the private press.
The creative approach that William Morris employed in his designs was revealed in a lecture from 1874: 'first, diligent study of Nature and secondly, study of the work of the ages of Art'.
Morris felt that the 'diligent study of Nature' was important, as nature was the perfect example of God's design. He saw this as the spiritual antidote to the decline in social, moral and artistic standards during the Industrial Revolution.
Likewise the 'study of the work of the ages of Art', a reference to the appreciation of art history, was equally important as Morris encouraged artists to look to the past for their inspiration believing that the art of his own age was inferior. Morris' solution was for a return to the values of the Gothic art of the middle Ages, where artists and craftsmen had worked together with a common purpose: to glorify God through the practice of their skills. The model for this solution was the medieval crafts guilds which he saw as a type of socialist brotherhood where everybody fulfilled themselves according to their level of ability. Morris felt that this would enhance the quality of life for all, and that artistic activity itself would be seen as a force for good in society.
The medieval crafts guilds were groups of artists, architects, and craftsmen who formed an alliance to maintain high standards of workmanship, regulate trade and competition, and protect the secrets of their crafts. The guilds were usually composed of smaller workshops of associated crafts from the same town who banded together into larger groups for their own protection and prosperity. They operated on a Master, Journeyman and Apprentice system where the master would take on apprentices to train them in the skills of his craft. The apprentices were 'bound' to work for free for that master for a period of around five to nine years. In return the master would look after their welfare and education in the skills of his craft until they graduated as journeymen. As journeymen, they were not only paid for their work but also free to go and work for other masters. In time, if a journeyman demonstrated outstanding skill in his craft, he could advance in the guild to the position of master and take on his own apprentices.
Morris was one of the great pattern designers. His classic designs are still commercially available as wallpapers and textiles. His patterns are inspired by his intimate knowledge of natural forms discovered through drawing and stylized through his detailed knowledge of historical styles. They were usually titled with the names of the flowers that they depicted such as 'Chrysanthemum', 'Jasmine', 'Acanthus', and 'Sunflower'. In effect, Morris took the natural forms that he found outside in the woods and meadows and used them to decorate the inside of our homes.
His wallpaper designs were echoed in his textile, tapestry and carpet designs. Their images are similar, only simplified due to the limitations of coarser media.
Morris' design for 'Trellis', his first attempt at a wallpaper design, was based on roses growing over trellises in the garden at the Red House, his classic Arts and Crafts Movement home, at Bexleyheath in Kent. The pattern shows a medieval influence as it is recalls the ornamental decoration to be found on illuminated manuscripts and tapestries. The birds and insects which were later added to the final design were drawn by Philip Webb, the architect of the Red House. 'Trellis' was one of Morris' favourite designs and he chose it to decorate his bedroom at Kelmscott House in London where he spent his final years.
In 1891, Morris founded the Kelmscott Press, named after the village near Oxford where he had lived since 1871. The Kelmscott Press produced high quality hand-printed books to be seen and cherished as objects d'art. Morris designed and cut the typefaces, ornamental borders and title pages which were based on the style of medieval manuscripts, while the illustrations were created by the Pre-Raphaelite artist, Edward Burne-Jones. The books were printed on handmade paper, copied from 15th century Italian samples, and bound in vellum.
Although Morris looked to the past for inspiration, his aims anticipate modernist ideas on typography and layout: 'I began printing books with the hope of producing some which would have a definite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye......I found I had to consider chiefly the following things: the paper, the form of the type, the relative spacing of the letters, the words, and the lines; and lastly the position of the printed matter on the page'.
Altogether Kelmscott published 53 titles (18,000 copies in all), including 'The Nature of Gothic', a chapter from 'The Stones of Venice' by the art critic, John Ruskin. Morris, who wrote the preface praising the book, had been greatly inspired by Ruskin whose writings influenced the Arts and Crafts movement by encouraging the revival of Gothic art and architecture.
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