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Transcript of William Morris
-It was largely a reaction against the poor state of the decorative arts at the time and the conditions in which they were produced.
-It stood for traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of decoration.
-It believes in economic and social reform and has been said to be essentially anti-industrial 1857 - william met one of Rossetti models ,
Jane Burden, who was the ideal image of beuty according to pre-Raphaelite standards
Two years later , he married her The Red House - In 1860, Morris commissioned his architect , Philip Webb, to design the red house constructed from red bricks and tiles which was to become the residence of his family. Tilling Floor Plan Other tiles from Red House were blue and white farm birds, and were represented in yellow and black in stained glass in the upstairs corridor. These birds, designed by architect Philip Webb, were also painted by hand Exterior The front elevation looks somewhat more formal than the west and east fronts, with their picturesque variety of levels and angles. In this position in the L-shaped part of the building, and on the first floor, Morris's studio gets the sun from three sides, making it a wonderfully bright room in which to work. Part of the original plan, the stables were built at the same time as the house itself The windows of the house are among its most unusual features, because they were positioned according to the internal arrangement of the rooms and the need for light, rather than for external appearance, and are of a variety of types. Here as elsewhere, the windows are recessed and the sills slope to let the rain slide off. Windows The stained-glass windows here are some of the earliest that we have by Morris, with figures designed by Burne-Jones, and "stylised birds and flowers designed by Webb following 15th-century examples. The House is Gothic in flavor having pointed arches and steeply pitched roofs with an ornamental well and courtyard. The red tiles and red bricks with which it is constructed were carefully selected and arranged to give variation of color and avoid the impression of mechanized uniformity. Stained glass and bulls eye glass are used in the windows and interior corridors. The interior of the house was decorated with murals painted by Burne Jones and Rossetti. Much of the furniture and some of the glass and metalwork were designed by Webb. Morris and his wife Janey worked together on wall hangings and embroidery in medieval themes and friends were frequently called upon to assist the decoration of walls and ceilings. Interiors Morris and company -Designing the Red House give Morris the idea of founding Morris, Marshall, Faulkner Company in partnership with Rossetti and Jones.
- In 1875, Morris re-organize the company under his sole ownership and call it simply Morris and Company.
- It produced basically anything you could want to furnish your home with from stained glass windows, wallpaper, textile, and furniture.
- As well as designing and producing the goods, Morris served in the shop as well. Kelmscott house Kelmscott House dates from the 1780s and is associated with Morris who lived here from 1878 until his death. He was not the first distinguished man to live in the house - in 1816 Sir Francis Ronalds constructed the first electric telegraph in the garden and in 1867 George MacDonald, the well known writer moved in.
Morris took a lease on the house in April 1878 and almost immediately changed the name from The Retreat to Kelmscott House, named after Kelmscott Manor, his 17th century country house in Gloucestershire. He was particularly pleased that both houses stood beside the Thames and he made two boat journeys between them. Let dead hearts tarry and trade and marry,
And trembling nurse their dreams of mirth,
While we the living our lives are giving
To bring the bright new world to birth.
- William Morris Morris Wallpaper Morris's name and reputation are indissolubly linked to wallpaper design. Morris's first wallpaper design was Trellis, a pattern suggested by the rose-trellis in the garden of his house in Bexlevheath, Kent. Designed in 1862, it was not issued until 1864, a delay that was due to Morris's unsuccessful experiments with printing from zinc plates. 1 The next pattern Fruit (also known as Pomegranate), share a medieval character that links Morris's early work in the decorative arts with the Pre-Raphaelite painters, and with Ruskin. However, they are also influenced by Morris's abiding interest in naturalism in ornament. Morris designed over 50 wallpapers, and his firm produced a further 49 by other designers including George Gilbert Scott , Kate Faulkner , and J.H. Dearle. Every pattern employs plant form, whether expressed in a luxuriant naturalism (Acanthus, Pimpernel, Jasmine) or a flatter, more formalised style (Sunflower). In common with many of the writers offering advice on home decorating, Morris maintained that the choice of wallpaper must take into account the character and function of the room Furnishing textiles were an important offering of the firm.
He learned the theory and some extent the practice of weaving, dyeing and textile printing. Portion of Cabbage and Vine tapestry, William Morris's first tapestry woven at Kelmscott House in the summer of 1879 Drawing for block-printed fabric Tulip and Willow Peacock and Dragon woven woollen fabric Textile Carpet design Kelmscott Press In January 1891, Morris founded the Kelmscott Press at Hammersmith, London, in order to produce books by traditional methods, using, as far as possible, the printing technology and typographical style of the fifteenth century at the end .... William Morris died on October 3, 1896 at the age of 62. + interiors The Green Dining Room In the 1860s the V&A, then known as the South Kensington Museum, asked William Morris's firm to decorate one of their new dining rooms. Now it is called the 'Morris Room'. It has stained glass windows by Burne-Jones and he also designed the figures on the panelling. Morris designed the panels next the figures with branches of fruit or flowers and Philip Webb designed the olive branches on the walls and the frieze above them. 2 3 4 During his lifetime Morris produced hundreds and hundreds of designs for textiles, including tapestries and hand woven carpets. His inspiration for their composition was both nature and the medieval world. He wanted to find a way out of industrial ugliness, back to the joys of creation experienced in the ‘Golden Age’ of English history when Elizabeth 1 was on the throne. Challenging industrial age leaders to produce handcrafted goods was indeed a lofty ideal. Morris inserted circular windows from the Italian Renaissance period, as well as small-paned sash windows from the English Georgian age.
Many of the windows are surmounted by pointed Gothic arches used by sixteenth century architect Andrea Palladio. Its steeply graded roof acted as an electrical insulator, were fireproof and had an extremely low water absorption rate.
The roof allowed water or melting snow to run into wide gutters and be recycled via a ‘well’ in the garden, which symbolically and practically became the ‘font’ of the house.