William Morris

(1834-1896)
- Revolução Industrial: corrupção do Homem e da Cidade;

- Valores igualdade: Revolução Francesa e Socialismo;

- Grande embate entre Produção Artesanal X Produção Industrial

Exaltação da Idade Média, Pré-Rafaelitas: Romantismo e Revival Gótico;

- Ruskin: Resgate dos valores ético-religiosos, estéticos, social (produção artesanal; guildas) Medieval
Reação contra mediocridade produção artística mecanizada:
simulação, à máquina, da aparência do trabalho a mão.
Valor do ornamento: 1. beleza das formas;
2. trabalho humano, atenção despendida na execução.
William Morris

- seguidor dos ideias de Ruskin;

Preocupações: destruição vida do operário;
Interesse: experiência do trabalho – Prática;
- Definição de arte:
“ O modo pelo qual o homem expressa a alegria de seu trabalho”
- 1853-55: The Brotherhood: travam uma Cruzada contra sua época;
- 1862: Morris & Co.
- Participação política ativa: Partido Liberal, Federação Democrática e
Liga Socialista, Jornal: The Commonweal
- 1877: Sociedade Para Proteção dos Monumentos Antigos;
- 1888: funda Sociedade para Exposição de Artes e Ofícios (Arts and Crafts)
- 1890: Kelmscott Press;

- Artes aplicadas: “Arte feita pelo povo e para o povo”

(Indissociação entre arte e utilidade)
 Red House
Philip Webb; William Morris, Edward Burne-Jones,
1859 -Bexleyheath, London
The settle in the drawing room, with Burne-Jones murals to either side. Right:
the Burne-Jones memorial depicting the marriage feast of Sir Degrevant.
- Verdadeiro Laboratório de Arte Decorativa;
- Paradoxo: produção custosa, inacessível ao povo!
 Morris, Marshall, Faulkner & Co. (1862)
Ford Madox Brown, Edward Burne-Jones, Charles Faulkner, Dante Gabriel Rossetti, P.
P. Marshall e Philip Webb.
"Fine Art Workmen in Painting, Carving, Furniture and the Metals“:
objetos manufaturados para uso doméstico
1865: Transferência para Londres

Origem do Desenho do Objeto

Morris & Co. (1875)

Morris & Co premises at 449, Oxford Street, London,
1879. Furnishings and decorative arts manufacturers
and retailers founded by William Morris.
(Photo by Culture Club/Getty Images)
All Saints' parish church
(Middleton Cheney)
stained glass made by
the firm of William
Morris, with work by
Morris, Burne-Jones,
Philip Webb, Ford Madox
Brown and Simeon
Solomon. 1865
The Tribes of the
Children of Israel, by
Simeon Solomon.
 Crucifixion window by
Edward Burne-Jones for
W. Morris. 1876

Detail of Dante
as mourner

Detail of figure
looking down
Hand-painted in blue on a tin-glazed earthenware Dutch
earthenware blank.
Morris, William (designer)
Webb, Philip Speakman (designer)
Morris, Marshall, Faulkner & Co. (makers)
A mística Islândia dos “monstros” – viagem de 1871
Cabbage and vine tapestry, 1879.
Right: Design for "Tulip and Willow"
indigo-discharge wood-block printed
fabric, 1873.
Snakeshead printed
textile (1876)

"Peacock and Dragon" woven wool

furnishing fabric (1878)
 Wooden Pattern for
Textile Printing from
William Morris's Company

Matriz

Design for Windrush printed
textile, 1881–1883
Block-printed wool, ca. 1868,
Morris, Marshall, Faulkner & Co.
 1866
Morris, William(designer)
Jeffrey & Co. (manufacturer)
Morris, Marshall, Faulkner & Co. (retailer)
Morris & Co. (publisher)

Materials and Techniques:

block-printed in distemper colours, on
paper

1862
Morris, William (designer)
Webb, Philip Speakman (designer)
Morris, Marshall, Faulkner & Co.
(designer and maker)

Materials and Techniques:

Pencil, pen and ink, watercolour, and
bodycolour on paper
Sussex chairs illustrated in Morris and Co. advertisement [ca. 1900]
Philip Webb. Morris, Marshall, Faulkner & Co. 1865 ca.

Philip Webb table and the embroidery of Aphrodite in the Dining Room
at Red House, Bexleyheath, Kent.
Wightwick Manor. Sussex three-back settee designed by William Morris
against embroidery by the Royal School of Needlework after Burne-Jones'
"The Mill" in the Pomegranate Passage.
V&A Museum, London, England, UK.
The Morris Adjustable Chair, designed by Philip Webb (1831-
1915). Made by Morris, Marshall, Faulkner & Co. Ebonised
wood frame with Bird design upholstery. England, c. 1870-90.
Interior of Wightwick Manor, Staffordshire: showing
use of Morris furniture, rugs, and textiles.
The Hammersmith Branch of the Socialist League. William Morris is fifth from the right in the second row.

cover of the Socialist League's manifesto of

1885 featured art by Morris.
Kelmscott Press
Morris' design for
the Kelmscott
Press' trademark
Kelmscott Press - The Nature of Gothic by John Ruskin
(first page of text, with ornamented border).
Kelmscott Manor depicted in the
frontispiece to the 1893 Kelmscott
Press edition of William Morris's
News from Nowhere

Walter Crane, “Labour’s May Day,” in William Morris, News

from Nowhere (Boston: Roberts Brothers, 1890),
frontispiece.
 Textile printing at
Merton Abbey c. 1890,
from a booklet
commemorating the
50th anniversary of the
firm, 1911
The Weaving Shed at Merton Abbey c.
1890 from Morris & Company, A Brief
Sketch Of The Morris Movement and of
the Firm Founded by William Morris to
Carry Out His Designs and the Industries
Revived or Started by Him. Written To
Commemorate The Firm's Fiftieth
Anniversary In June 1911. Privately
printed at the Chiswick Press for Morris &
Company, 1911. (Date information from
Gillian Naylor, William Morris by Himself:
Designs and Writings, London, Little
Brown & Co. 2000 reprint of 1988
edition.)
“Não digo que devamos tender a abolir todas as máquinas, eu gostaria de fazer à
máquina algumas coisas que agora são feitas à mão, e fazer à mão outras coisas
que agora são feitas à máquina; em breve, deveremos ser os senhores de nossas
máquinas, não os escravos, como somos agora. Não é desta ou daquela máquina
tangível, de aço ou de latão, que devemos livrar-nos, mas sim da grande máquina
intangível da tirania comercial, que oprime a vida de todos nós.” ("Art and its
Produceres", conferência proferida na National Association for the Advancement of Art, em Liverpool, 1888,
in: On Art and Socialism, p. 216.)