Scientific Journal of Latvia University of Agriculture

Landscape Architecture and Art, Volume 5, Number 5

The Life and Work of William Morris

(1834–1896)
Līva Gailuma, Una Īle, Latvia University of Agriculture

Abstract. The study reflects the English designer’s, artist’s, writer’s and socialist’s
William Morris’s (1834–1896) biography and creative output, highlighting the designer and
craftsman's lifetime contribution to the decorative and applied arts sector and his participation in the
design movement known as “The Arts and Crafts Movement” in Britain in the second part of the
19th century. The article examines W. Morris’s backgrounds and artistic oeuvre, emphasizing the
contribution to the interior decoration industry. His creative activities, as a designer and artisan,
included the development of individual design objects, such as stained glass, textiles, wallpaper, tiles
and furniture elements, as well as the professional performance of interior decoration.
Key words: Arts and Crafts Movement, decorative arts, pattern-making, painting, textile
design, wallpaper design.

Introduction
Arts and Crafts Movement was one of the most Because of his outstanding skills and talents, the
influential, fundamental and the most far-reaching pattern-making can be considered the basis of
design movements which began during the reign of W. Morris‟s artistry – the creation of brilliant
the British Queen Victoria (1819–1901) around designs for wallpaper, textiles and linoleum print, as
1880 in the United Kingdom – the most well as the skillful stained glass print design,
industiralised country of that time. In 1887 a union tapestry and embroidery works[9, 83].
was established of multi-profile confederates, Multiple other authors have conducted studies
workshops and producers, also known as the and biographical overviews of W. Morris‟s personal
Arts and Crafts Exhibition Society, from which the life, researches on his professional activity in the
following movement later borrowed its name [2; 8]. painting artistry and applied and decorative arts, his
The motion can be characterized as a reaction contributions to the design movement Arts and
against the impact and consequences of the Crafts and literary arts, as well as reports of his
industrial production and the unregulated market public and political activities.
that affected the design industry, craft skills and The aim of the study is to explore the
people's everyday lives in general, and its W. Morris‟s biography and artistic creativity,
philosophy is based on the improvement of the emphasizing the contribution to the interior
standard of decorative arts, preservation of the craft decoration industry. The assignment of the study is
skills and the improvement of the quality of human to research the biographical literature and visual
habitat. The most prominent design movements material, to collect the most significant facts, to form
have been represented by a theorist and art critic a description of selected wallpaper and textile design
John Ruskin (1819–1900) and a designer, work.
writer and activist W. Morris. J. Ruskin studied the
relationship between art, society and employment, Materials and Methods
while W. Morris‟s applied the theoretical The study was conducted during the period from
relationships in practice, emphasizing the value of July 2014 to September, it is based on literature
work, satisfaction with the mastery of hand skills review and research of the materials available from
and the natural aesthetics of the raw material. the archives in the William Morris Gallery,
Before the beginning of the 80‟s of the 19th century, located in Lloyd Park, Forest Road, Walthamstow,
W. Morris had already become an internationally London, E17 4PP, United Kingdom, as well as the
recognised and commercially successful designer authors' previous research experience.
and manufacturer; the artist society of the newly W. Morris‟s stages of life – childhood,
established Guild, took over his ideas and adolescence, youth years, and the adult years – were
established a common approach among the described based on the analysis of biographical
architects, painters, sculptors and designers, literature, where, with the application of synthesis
thus spreading the philosophical ideas of the design method, the emphasis is on the highlights of the
movement. The breeze of the new movement rapidly interconnections in his artistic creativity; whereas,
spread throughout the Europe and the using the generalization method - through specific
United States [8]. facts of individual's flow of life, were gathered

25
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

inquisitive reader, who was mostly fascinated by

tales of knighthood and romance. By the age of
seven, he had read all the Waverly edition novels
(1814) by the Scottish novelist Walter Scott
(1771–1832), and the impact of his favorite English
writer Clara Reeve‟s (1729–1807) Gothic fiction
work The Old English Baron (1778), runs through
life and largely affects his artistic oeuvre.
The Epping Forest, where in early boyhood he liked
to spend time, theatrically reproducing the scenes of
the medieval knighthood, wearing corresponding
garment, and the presence of the Queen Elizabeth‟s I
of England and Ireland – (1533–1603) hunting
house, home garden, and the English botanist John
Gerard’s (1545–1612) book The Herbal or General
History of Plants (1597), had instilled in him
practical knowledge and devotion to nature, which
was later portrayed in his creative performance by
incorporating motives of flowers, foliage, fruit, sky
and birds. As an eight-year-old, he expressed
profound interest in architecture. Together with his
father, he visited the Romanesque-Gothic Cathedral
of Canterbury (1070–1834), which left a strong
impression on him [5, 20].
During the period from 1848 to 1850, W. Morris
Fig. 1. William Morris [4] studied at The Marlborough School, where, trough
specific personality traits and professional work self-study, he learned about the archaeological and
characteristics. The use of historical method sacred architectural industries, and where he
provides insight into the beginnings of Arts and enthusiastically spent time alone, exploring the
Crafts Movement in Britain and W. Morris‟s surrounding landscape and architecture - Savernake
participation in its development. Biographically Forest, Silbury Hill, Avebury big-stones and cairn of
historical method detects the links between the megalithic age[5, 20; 22-23]. From 1851
W. Morris‟s personal life and his artistic creativity – to 1852, he was tutored privately, and from 1852 to
how the environmental conditions formed his world 1855 he continued studies at Exeter College, Oxford
view, which, in turn, affected his creative process. with the intention of becoming a clergyman [4].
Through monographic or descriptive method, The study period was significant for both the artistic
several interpretations were expressed regarding growth and the acquisition of new like-minded
W. Morris‟s achievements in the decorative and people. The acquired contact with the artist and
applied arts over time: painting, stained glass art, designer Edward Burne – Jones (1833–1898)
textiles, wallpaper, tile and furniture design, evolved into a close friendship and artistic
calligraphy and prints. The conclusions on W. collaboration throughout the lifetime. During the
Morris‟s lifetime achievements in arts and crafts study period, the personal vision of the future of life
classes, and the impact he left on the art in the was strongly influenced by the literary oeuvre of
second half of the 19th century, in general, were John Ruskin, as well as the writer William
developed on the basis of personal observation, after Shakespeare (1564–1616) and the poet Geoffrey
applying the induction and deduction methods. Chaucer (1343–1400) [5, 25; 28]. The rural
environment of the Oxford City continued to
Results and Discussion develop his interest towards flowers and plants; his
William Morris was born on 25 March 1834, in favorite flowers - daisies, fritillaries, and wild tulips
Walthamstow area of London, in the family of – are themes common in his design work. The time
William Morris's father of Welsh origin and mother spent visiting the French cities of Chartres, Rouen,
Emma Shelton. He grew up in a respectable and Beauvais and Amiens greatly impressed him with
prosperous large family with the older sisters Emma their aesthetics of the early Gothic cathedrals and the
and Henrietta, and his younger siblings – Isabella, masterpieces of painters Jan van Eyck (1390–1441)
Alice, Hugh, Thomas, Arthur, and Edgar [6]. and Hans Memling (1430–1494). From the domestic
Literary interest and artistic abilities emerged at artists, he was mostly impressed by the
an early age, and his childhood provided every artwork of painters from the The English
opportunity for their development. W. Morris was Pre-Raphaelite Brotherhood artists' association [5, 29].

26
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

After theology studies in Oxford, W. Morris

decided to devote his career to art. Because of his
strong interest in architecture, in 1856 he,
as a trainee, joined the English architect George
Edmund Street‟s (1824–1881) office in Oxford,
but did not complete the whole internship time.
While working those nine months, he felt limited
and frustrated with his daily tasks; nevertheless, the
time spent together with G.E.Street was substantial
in the further expansion of designer's artistic vision;
thus, raising the interest in the architecture.
W. Morris always believed that architects are the
highest-rank masters and that the decorative
and applied art acquires meaning only
Fig. 2. A detail from the If I Can wall hanging, in relation to architecture. During the internship,
designed and worked by W. Morris, 1857 [5, 36] he got acquainted with the English architect
Philip Speakman Webb (1831–1915),
with who he developed a close friendship and
professionally collaborated in many projects.
Later that same year, a poet, painter, and founder of
The Pre-Raphaelite Brotherhood association,
Dante Gabriel Rossetti became his friend and
mentor (1828–1882) [5, 32-34].
Another important field W. Morris researched in
The British Museum in London, were the illuminated
manuscripts. The artist's creative motifs derived from
the observed illuminated miniatures and the decorative
borders of pages; DG Rossetti characterized
W. Morris‟s manuscript works as "quite unrivalled by
Fig. 3. The Red House, designed and worked anything modern that I know" [5, 38].
by author group, 1859 [5, 46] W. Morris‟s guideline for creative action was
consistent with the view „that the designer should be
totally familiar in practical terms with the techniques of
his chosen medium, and should never design anything
that he could not produce with his own hands”. In 1857
he created a wall hanging If I Can, and its linen cloth
backing is covered with wool thread embroidery, and
because of the texture density, appears similar to a
tapestry [5, 37]. The base of the textile is a symmetrical
lining composition with a light-toned homogenous
structure background and central themes – fruit tree,
bird, and the title of the work – as nuanced accents.
In 1857 he met the English art model and muse
Jane Burden (1839–1914), and they got married on 26
Fig. 4. George and Dragon cabinet, April 1859 in Oxford and had a family of two
designed by P. S. Webb, painted by W. Morris, 1861 [3] daughters – Alice Jane (1861 to 1935) and Mary
(1862–1938) [4; 5, 45].
W. Morris was convinced that aesthetic living and
working space is essential to create an outstanding
work [5, 45]. The artist loved all of his homes, but his
dream house was a private house in London – The Red
House (1859). In its creation process he worked as a
designer together with the architect P.S.Webb.
The designs of the furniture and interior decorations
were developed with the help of his family and friends
[5, 45; 47]. The interior concept reflects the effects of
medieval stylistics, the thoroughness of natural
Fig. 5. Trellis wallpaper, designed by W. Morris, 1864 [6] materials, and the game of texture contrasts.

27
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

Fig. 6. Daisy wallpaper, designed by W. Morris, 1864 [10] Fig. 9. Swan tile, designed by W. Morris, 1860s [6]

Fig. 10. The Sleeping Beauty tile panel, designed by E. Burne

– Jones for Morris, Marshall, Faulkner and Co., 1862–1865
[Source: http://collections.vam.ac.uk/item/O8053/tile-panel-
burne-jones-edward/]
Fig. 7. Fruit (or Pomegranate) wallpaper,
designed by W. Morris, 1866 [6]

Fig. 8. Daisy tile, designed by W. Morris, about 1862 [6]. Fig. 11. Morris chair, designed by P. S. Webb,
fabric by W. Morris, about 1866 [5, 66]

28
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

After the collaborative work invested in the

creation of cottage, the idea was born to continue
their artistic collaboration and in 1861, together with
like-minded colleagues, a company was founded -
Morris, Marshall, Faulkner and Co; the aim of
which was to create a hand-crafted design
artwork in limited quantity. Artists' association
was created by: designer and craftsman W. Morris,
engineer Peter Paul Marshall (1830–1900),
painter Ford Madox Brown (1821–1893),
professor Charles Joseph Faulkner (1833–1892),
artist and designer E. Burne – Jones, poet and
painter D.G. Rossetti, and architect P.S. Webb.
The essence of the business was fully consistent
with W. Morris's professional calling, by offering
decorative wall finishing, carving, stained glass,
Fig. 12. The Green Dining-Room at the South Kensington
Museum, designed and worked by Morris, Marshall,
metal, and furniture design services [6].
Faulkner and Co., 1866 [5, 74] As a painter, W. Morris was best able to express
himself through creating decorative furniture and
paintings on the ceilings [5, 44]. One of the artist's
accomplishments is a decorative painting for
P.S.Webb‟s designed cabinet George and the
Dragon (1861), made of mahogany, pine and oak,
and supplemented with copper metal fittings.
The composition includes scenes from Roman
legend of St. George and the Dragon, as well as the
artist himself with his wife [3].
The inspiration for wallpaper design was
borrowed from the late medieval art, and is closely
linked with the interest toward the naturalistic
ornamentation. First Trellis wallpaper was created in
1862 and printed only in 1864. The print motif rose-
trellis was inspired by the garden at home in
Bexlevheath, Kent [10]. The composition is made of
vertically organised lining motif with a dynamic
downstream, with a evenly spaced grid and
highlighted central element – permeates rosewood
strings with birds as accents – in the background.
The first printed wallpaper Daisy (1864)
became one of the most popular of the century
[5, 71]. It portrays a meadow in naive style,
forming a composition of horizontally arranged rows
of flowers and a light toned background.
In 1866 was printed the wallpaper Fruit,
also known as Pomegranate [5, 68; 10]. The tree
Fig. 13. Tracery light for St Michael‟ s Tilehurst, foliage with fruits arranged in an even diagonal
designed by W. Morris, 1869 [5, 56] composition with an alternating repeated motifs.
During his career, he created stained glass for
more than 400 buildings in the UK, 41 types of
wallpapers with mostly flowers, leaves, birds and
fruit motifs, and 5 types of ceiling wallpapers
[5, 62–70]. One of his favorite motifs – Daisy –
frequently appeared on wallpaper, tiles and
embroidery design.
In 1865, after years of happy living in
The Red House, W. Morris and his family moved to
Fig. 14. Rossetti chair, designed by D. G. Rossetti for Morris, a new residence building, on 26 Queen Square,
Marshall, Faulkner and Co., 1870–1890 [6] London, where used to be the company‟s office,

29
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

Fig. 15. Page from A Book of Verse, handwritten and Fig. 18. Acanthus wallpaper,
decorated by W. Morris, 1870 [9, 144] designed by W. Morris, 1875 [5, 72]

Fig. 16. Design for Jasmine

wallpaper by W. Morris, 1872 [5, 71]

Fig. 17. Willow wallpaper, Fig. 19. Columbine/ Bluebell chintz,

designed by W. Morris, 1874 [5, 73] designed by W. Morris, 1876 [5, 15]

30
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

design studio, workshop and a jeweler's shop [5, 54].

The company had already acquired a reputation very
early because of the outstanding quality of their
service. The strongest work areas were: stained
glass, hand-painted tiles, furniture design [6].
In the following years their range of services
expanded to the creation of unified architecture and
interior design projects [6].
The poem The Life and Death of Jason was
published in 1867, in 1868 – The Earthly Paradise
[4; 5, 76]. During the period from 1868 until 1869,
he studied and researched the Icelandic language;
together with Icelandic scientists Eirikr Magnusson
(1833–1913) published the Norse sagas The Saga of
Gunnlaug Worm-tongue and The Story of Grettir the
Fig. 20. African Marigold chintz, Strong, in 1870 – the English translation of prose
designed by W. Morris, 1876 [5, 90] Volsunga Saga [4].
From 1871 until the year 1873 W. Morris and his
family rented a place of residence together with
D.G.Rossetti in the Kelmscott Manor, located in the
Cotswold village, Glouchestershire; from 1874, in
the rural rest house lived only his family. From 1872
until 1882, the family residence in London was the
Horrington House, from 1878 – Kelmscott House
[5, 76–77; 6].
In the period up to the year 1870, the only active
members of the company were W. Morris,
E. Burne – Jones and P.S.Webb. In the community
W.Morris had established the reputation of an
Fig. 21. Design for Pimpernel outstanding designer. The company for him was an
wallpaper by W. Morris, 1876 [5, 84] important source of income, and a form of
generating creative confidence and artwork
marketing [6].
In 1875 the company was reorganized, renaming
it the Morris and Co, and W. Morris became the sole
owner. One of the most important steps was the
acquisition of new retail space - the establishment of
the showroom on 449 Oxford Street, London,
maintaining the current working space, where the
first experiments in weaving, textile dyeing and
printing were performed [6].
Hand-printed chintzes became one of the
designer's most recognizable creative achievements.
Fig. 22. Bird wall hanging,
In total, almost 40 different design textiles were
designed by W. Morris, 1878 [5, 10]
created with a distinctive and crisp vertical turnover
structure and a diagonal arrangement with motifs,
borrowed from nature: flowers, trees, leaves, fruits,
birds, rivers. The vertically organized pattern
derived from the medieval Spanish and Sicilian
textiles weaving technique, whereas, the emphasis of
diagonal orientation was inspired by the
15th-century Italian cut velvet fabric. In 1875 began
the first production of Tulip fabric for mass retailing.
The printed cotton, unlike the woven, embroidered,
tapestried and hand-tufted rug textiles, have been
available for purchase for people with average
income – for pillow cases, small furniture
Fig. 23. Vine and Acanthus tapestry,
designed by W. Morris, 1879 [5, 78] upholstery, and wall decor [5, 87–92].

31
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

Fig. 24. Flower Garden woven silk, Fig. 27. St James woven silk damask,
designed by W. Morris, 1879 [5, 95] designed by W. Morris, 1881 [5, 96]

Fig. 25. Sunflower wallpaper, Fig. 28. Brother Rabbit chintz,

designed by W. Morris, 1879 [5, 94] designed by W. Morris, 1882 [5, 90]

Fig. 29. Eyebright printed cotton,

designed by W. Morris, 1883 [5, 93]

Fig. 26. South Kensington Museum interior, Fig. 30. Kennet printed cotton,
decorated by Morris and Co., 1880 [9, 75] designed by W. Morris, 1883 [5, 89]

32
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

of silk, wool and a combination of these two thread,

which ensured that the woven woolen cloth was
considerably more practical and durable, therefore,
more suitable for curtains, wall decor and
furniture upholstery. The woven wool fabric Bird,
created in 1878, was extremely popular among the
customers and by the designer himself [5, 95–99].
The composition of vertically directed print textiles
is composed of mirrored symmetry; the background
is characterized by a smooth arrangement of leaves
and flowers, highlighting the central theme - birds.
Within the company, W. Morris, in collaboration
with his colleagues E. Burne – Jones, P. Webb,
a British textile and stained glass artist John Henry
Dearle (1859–1932), co-created tapestries.
W. Morris considered tapestry techniques to be the
Fig. 31. Honeysuckle wallpaper,
designed by W. Morris, 1883 [5, 15]
most exalted of all weaving techniques. Designer
admired medieval tapestry art and greatly disliked
the tapestry work of the French factory
La Manufacture des Gobelins. W. Morris‟s original
embroidery structure was very similar to the tapestry
fabric. The large-scale textile Vine and Acanthus
(1879) was the first woven tapestry made of wool
and cotton warp [5, 98–101]. In the textile‟s central
mirrored symmetry composition, between the
densely grouped vines, is the discretely incorporated
bird motif.
In 1881, due to the limited space, the work space
was moved from London 26 Queen Square to the
factory at Merton Abbey. The first decade of the
Fig. 32. Wandle chintz, designer's business career had been the most
designed by W. Morris, 1884 [5, 91] productive and fruitful, with more than 600 kinds of
wallpaper, chintzes, woven fabrics, damasks,
carpets, tapestries, rugs, stained glass and
embroidery [6].
W. Morris was a socialist sympathizer, who,
during the period from 1884 to 1890, published an
article Art and Socialism and the book A Summary
of the Principles of Socialism. He was the founder
of the Socialist League and actively engaged in the
political processes, and has been arrested in
Fig. 33. Granada woven silk velvet brocaded with gilt thread, connection with the free speech demonstrations [6].
designed by W. Morris, 1884 [5, 97] W. Morris‟s studies and practical experiments,
Similar trends can be observed in the wallpaper using natural dyes, were ones of his particularly
design, which reflects the artist's natural ability important achievements – he developed formulae of
to sort the elements in the symmetric upward- natural dyes, which were described in detail in his
winding compositions [5, 94–95]. essay Of Dyeing as an Art (1889): blue from indigo
Weaving technique was one of the first craft and Woad; red from the Kermes and Cochineal
industries that suffered as a result of mass- insects and the madder plant; yellow from weld,
industrialization. Hand weaving art had been poplar, osier, birch, broom and quercitron; brown
particularly close to W. Morris – it is reflected in the from walnut tree roots. The produced colors were
lecture The Lesser Arts of Life, published in 1882. used to dye textiles [5, 82; 85].
The designer mastered the weaving technique by In the essay Textiles, published in 1893,
self-studying from the pre-Revolution period French he described textile fabrication and decorating
engineering school Arts et Métiers’s handbook, options – advisable nuances that were necessary to
considering that a designer should be able to weave create excellent quality woven fabric, using tapestry,
on his own. W. Morris‟s woven textiles were made handmade and mechanical printing, painting and

33
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

stitching techniques. W. Morris stressed that

it is always crucial to assess the characteristics and
processing capabilities of the raw material,
maintaining its natural aesthetics and characteristics:
„The special limitations of the material should
be a pleasure to you, not a hindrance: a designer,
therefore, should always thoroughly understand the
processes of the special manufacture he is dealing
with, or the result will be a mere tour de force.
On the other hand, it is the pleasure in understanding
the capabilities of a special material, and using them
for suggesting (not imitating) natural beauty
and incident, that gives the raison d’ être of
decorative art” [7].
He learned embroidery techniques through home
study. Embroidery for sacred purpose use and
for everyday, as well as individual orders,
were a significant source of revenue for the business.
Popular products among customers were the wall
hangings, cushion covers, fire screens, drapes,
portières, business bags, evening bags, gloves,
nightdress cases, bell pulls, tea cosies, book covers,
Fig. 34. The Golden Legend titlepage, photograph frames, tablecloths, billiard table
designed by W. Morris, 1892 [5, 118] covers [5, 103–104].
Carpet crafting is another field of art that
W. Morris worked diligently at, in order to preserve
it, and expressed his artistic credo: „... the art of
Carpet-making, in common with the rather special
arts of the East, is either dead or dying fast... we
people of the West must make our own hand-made
Carpets... and these, while they should equal the
Eastern ones as nearly as may be in materials and
durability, should by no means imitate them in
Fig. 35. Troy typeface, design, but show themselves obviously to be the
designed by W. Morris, 1892 [5, 119] outcome of modern and Western ideas, guided by
those principles that underlie all architectural art in
common”. The artist felt that the design of the carpet
should be fairly simple in form, with moderately
unobtrusive motifs of nature – tree foliage, flowers,
birds and animals, developed in opposite
colours [5, 107–108].
The founding of an independent private
publishing company – Kelmscott Press – in 1891,
London, was the next logical step in the process of
expressing his interests in medieval illuminated
manuscripts. According to W. Morris, printing had
been one of the sectors that degraded during the
commercialization process, and his goal was
to restore the type-designing, fine printing, and book
production. W. Morris had not only been a collector
of illuminated manuscripts, but also a brilliant
calligrapher and illuminator [5, 116].
W. Morris, inspired by 15th-century letter art,
developed a Gothic Typeface Troy, with more than
600 design sets of initials, borders, title pages,
inscriptions, and printers' marks [5, 120–121].
Fig. 36. The Works of Geoffrey Chaucer titlepage, designed During the period from 1894 to 1896, he
by W. Morris, illustrated by E. Burne – Jones, 1896 [5, 120] published his fiction novel The Wood Beyond the

34
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

World and The Well at the World's End, as well as the hard work and the continuous development of
started working on the book The Works of Geoffrey his professional skills during life, he gained
Chaucer, taking part as a designer in its development, a respectable status in the society both in the UK and
and invited E. Burne – Jones as an illustrator [4]. overseas. His artistic beliefs and perception of
W. Morris died in Kelmscott House on October 3, quality in human habitats had reached understanding
1896 [6]. The company Morris and Co. continued their among wide audience, through participation in local
business until 1940, when, under the influence of and international exhibitions.
The Second World War, it was voluntarily liquidated The uniqueness of his artistic creativity is
[5, 80]. The British fabric and wallpaper manufacturer primarily based on a thorough research of nature,
Arthur Sanderson and Sons Limited bought as a source of inspiration, and the observation
the company with the showroom, equipment and of medieval art stylistics. Through linking the
materials [1]. The company under the name of Morris performance with the general activity of the
and Co. operates today, continuing the tradition Arts and Crafts design movement, W. Morris
prophesied by W. Morris and maintaining the especially succeeded in developing the approach for
uniqueness of the design. the improvement of the craft quality standard in the
textile and wallpaper design fields, thus, gaining
Conclusion popularity until the present day. The designer and
W. Morris‟s professional activity is characterized artisan's contribution to the art of interior decorating
by the harmony between the theory and practice – the can be considered a substantial resource for research
results from researches and practical experiments have and can be a useful source of information for
allowed developing the artistic oeuvre that is based on developing modern living environment projects.
the philosophy of creating an excellent quality design W. Morris‟s textile and wallpaper printing oeuvre
work, preserving and developing the traditional can be considered an indispensable contribution
craftsmanship, and highlighting the importance with an existing value in the applied and decorative
of manual labor. The self-education had a significant arts industry.
impact on the enhancement of his creative The provided insight on W. Morris, as a designer
performance; Through self-study he acquired skills and craftsman, should be continued also in other
in architecture, stained glass artistry, textile, wallpaper studies and linked with the interior design field – the
and tile design, prints and calligraphy. research of arts and crafts traditions and
W. Morris is considered one of the most development of authentic or eclectic styles for
remarkable personalities involved in the development interior design projects.
of the Arts and Crafts design movement. Because of
References
1. A Full History [online 01.07.2014.]. http://www.william-morris.co.uk/a-full-history/
2. Arts and Crafts Movement in America [online 10.07.2014.]. http://www.metmuseum.org/toah/hd/acam/hd_acam.htm
3. Audio: St George Cabinet by William Morris [online 17.07.2014.]. http://www.vam.ac.uk/content/articles/a/aduio-st-
george-cabinet-by-william-morris/
4. Biography of William Morris [online 06.07.2014.]. http://www.vam.ac.uk/content/articles/b/biography-of-william-
morris/
5. Dore, H. William Morris. London: Hamlyn, 1996, p. 10 – 121.
6. Materials from William Morris Gallery Lloyd Park, Forest Road, Walthamstow, London, E17 4PP, United Kingdom.
7. Textiles [online 24.08.2014.]. https://www.marxists.org/archive/morris/works/1893/textiles.htm
8. The Arts & Crafts Movement [online 08.07.2014.]. http://www.vam.ac.uk/content/articles/t/the-arts-and-crafts-
movement/
9. Thompson, P. The Work of William Morris. London: Heinemann, 1967, 75., 83., 144. p.
10. William Morris & Wallpaper Design [online 15.07.2014.]. http://www.vam.ac.uk/content/articles/w/william-morris-
and-wallpaper-design/
INFORMATION ABOUT AUTHORS:
Līva Gailuma, BA Student at the Faculty of Engineering, Institute of Education and Home Economics
of the Latvia University of Agriculture, 5 J. Cakstes bulvaris, Jelgava, Latvia, LV-3001.
E-mail: liva.gailuma@windowslive.com
Una Īle, Dr. arch., Docent (since 2012) at the Faculty of Rural Engineers, Department of Architecture and
Construction of the Latvia University of Agriculture, 19 Akademijas iela, Jelgava, Latvia, LV˗3001.
E˗mail: una.ile@llu.lv
Kopsavilkums. Pētījums atspoguļo angļu dizainera, mākslinieka, rakstnieka, sociālista Viljama Morisa
(1834–1896) dzīves gājumu un māksliniecisko daiļradi, uzsverot dizainera – amatnieka mūţa ieguldījumu
dekoratīvi lietišķās mākslas nozarē un līdzdalību 19. gs. 2. puses dizaina kustībā „Arts and Crafts”
Lielbritānijā. Pētījuma mērķis ir izzināt V. Morisa dzīves gājumu un māksliniecisko daiļradi, akcentējot
ieguldījumu interjera apdares nozarē.

35
 Scientific Journal of Latvia University of Agriculture
Landscape Architecture and Art, Volume 5, Number 5

„Arts and Crafts” bijusi viena no ietekmīgākajām, pamatīgākajām un tālejošākajām dizaina kustībām, kas
aizsākusies britu karalienes Viktorijas (1819–1901) valdīšanas laikā ap 1880. gadu Lielbritānijā – tā laika
visindustrializētākajā valstī pasaulē. 1887. gadā dibināta plaša profila domubiedru, darbnīcu un raţotāju
biedrība „Arts and Crafts Exhibition Society”, no kuras mākslas kustība aizguvusi savu nosaukumu.
Kustības pamatnostādne raksturojama kā pretreakcija rūpnieciskās raţošanas ietekmei un neregulēta tirgus
sekām attiecībā uz dizaina nozari, amatniecības prasmēm un cilvēka ikdienu kopumā, un tās filozofija balstīta
uz dekoratīvās mākslas standarta pilnveidi, amatniecības prasmju saglabāšanu un cilvēka dzīvesvides
kvalitātes uzlabošanu. Ievērojamākie dizaina kustības pārstāvji bijuši teorētiķis, mākslas kritiķis
Dţons Raskins (1819–1900) un dizainers, rakstnieks, aktīvists V. Moriss. D. Raskins pētījis attiecības starp
mākslu, sabiedrību un nodarbinātību, savukārt, V. Moriss teorētiskās sakarības pielietojis praksē,
uzsverot darbu kā vērtību, gandarījumu par roku meistarības prasmēm un izejmateriālu dabisko estētiku.
Līdz 19. gadsimta 80. gadiem V. Moriss kļuvis starptautiski pazīstams, komerciāli veiksmīgs dizaineris un
raţotājs; jaundibinātās tirgotāju ģildes, mākslinieku sabiedrība pārľēmusi viľa idejas un atspoguļojusi
vienotu pieeju arhitektu, gleznotāju, tēlnieku un dizaineru starpā, šādā veidā izplatot dizaina kustības
fizolofiskos ideālus. Virziena vēsmas strauji izplatījušās Eiropā un Amerikas Savienotajās Valstīs.
V. Moriss dzimis 1834. gada 25. martā Valthamstovas rajonā Londonā, velsiešu izcelsmes tēva
Viljama Morisa un mātes Emmas Šeltones ģimenē. Uzaudzis cienījamā un pārtikušā daudzbērnu ģimenē,
kur vecākās māsas ir Emma un Henrieta, jaunākās māsas un brāļi – Izabella, Alise, Hjū, Tomass, Artūrs,
Edgars. Literārā interese un mākslinieciskās spējas parādījušās ievērojami agrā vecumā, bērnības gados
bijušas visas iespējas nodoties to attīstīšanā. Līdz septiľu gadu vecumam izlasījis visas skotu romantisma
rakstnieka Valtera Skota (1771–1832) noveles izdevumā „Vāverlijs” (1814), un, iecienītākā angļu rakstnieces
Klāras Rīvas (1729–1807) gotiskās literatūras darba „Vecais angļu barons” (1778) atstātais iespaids caurvijas
dzīves garumā un lielā mērā iezīmē māksliniecisko daiļradi. Epingas meţs, kur bērnības gados paticis
uzturēties un teatrāli atveidot viduslaiku bruľinieka tēlu atbilstošā ģērbā, tajā esošais Anglijas un Īrijas
karalienes Elizabetes I (1533–1603) medību nams, piemājas dārzs, angļu botāniķa Dţons Dţerarda
(1545–1612) grāmata „Augi jeb vispārējā augu vēsture” (1597) ir devis praktiskas zināšanas un radījis
pieķeršanos dabai, savā radošajā veikumā atspoguļojot ziedu, koku lapotnes, augļu, debesu un putnu motīvus.
Astoľu gadu vecumā novērota izteikta interese par arhitektūru, kopā ar tēvu apmeklēta romānikas un gotikas
stila Kenterberijas katedrāle (1070–1834), kas atstājusi spēcīgu iespaidu. No 1851. gada līdz 1852. gadam
skolojies privāti, no 1852. gada līdz 1855. gadam studējis Ekseteras koledţā Oksfordā ar nodomu kļūt par
garīdznieku. Studiju laiks bijis nozīmīgs gan mākslinieciskajā izaugsmē, gan jaunu domubiedru iegūšanā.
Iepazīšanās ar mākslinieku un dizaineru Edvardu Bērnu – Dţonsu (1833–1898) pārtapusi par ciešu draudzību
un māksliniecisko sadarbību mūţa garumā. Studiju laikā un turpmākās dzīves personisko redzējumu spēcīgi
ietekmējis D. Raskina, kā arī rakstnieka Viljama Šekspīra (1564–1616) un dzejnieka Dţefrijs Čosera
(1343–1400) literārā daiļrade. Pēc teoloģijas studijām Oksfordā, V. Moriss nolēmis veltīt savu karjeru
mākslai. Balstoties uz padziļināto interesi par arhitektūru, 1856. gadā kā praktikants sācis strādāt angļu
arhitekta Dţordţa Edmunda Strīta (1824–1881) birojā Oksfordā, taču neizgājis pilnu prakses laiku.
Nostrādāto deviľu mēnešu garumā juties ierobeţots un neapmierināts ar ikdienas pienākumiem, tomēr
aizvadītais laiks kopā ar D. E. Strītu bijis lietderīgs – paplašinājis dizainera redzējumu un raisījis interesi par
arhitektūru dzīves garumā. V. Moriss vienmēr uzskatījis, ka arhitekts ir augstākās pakāpes meistars un lietišķi
dekoratīvā māksla iegūst nozīmi tikai saistībā ar arhitektūru.
V. Moriss bijis pārliecināts, ka estētiska apkārtēja dzīves un darba telpa ir būtiska, lai radītu izcilu darbu,
profesionālo darbību raksturo teorijas un prakses saskaľa – pētījumu un praktisko eksperimentu rezultāti
ļāvuši pilnveidot māksliniecisko daiļradi, kuras filozofija balstīta uz izcilas kvalitātes dizaina darbu radīšanu,
saglabājot un attīstot tradicionālās amatniecības prasmes, uzsverot roku darba nozīmību.
Pašizglītība ieľēmusi nozīmīgu vietu radošā veikuma pilnveidē, pašmācības ceļā apgūtas zināšanas
arhitektūras jomā, iegūta kompetence vitrāţas, tekstiliju, tapešu un flīţu dizaina, iespiedgrafikas un
kaligrāfijas nozarēs. Pateicoties apdāvinātībai un izkoptam talantam, grafiska apdruka uzskatāma par
V. Morisa mākslas pamatu – radīti izcili tapešu dizaina paraugi, tekstiliju un linoleju apdrukas, raksta izstrāde
atspoguļojas arī vitrāţas, izšuvumu un gobelēnu daiļradē. Mākslinieciskās daiļrades unikalitāte pamatā
balstās uz pamatīgu dabas, kā iedvesmas avota, izpēti un viduslaiku mākslas stilistikas novērojumiem.
Radošā darbība ietvērusi atsevišķu dizaina objektu izstrādi vitrāţas, tekstiliju, tapešu, flīţu un mēbeļu dizaina
jomās, kā arī profesionālu veikumu interjera dekorēšanā. Sasaistot veikumu ar dizaina kustības
„Arts and Crafts” virzību kopumā, V. Morisam īpaši izdevies realizēt nostādni par amatniecības kvalitātes
standarta pilnveidi tekstiliju un tapešu dizaina sfērās, ar šo nopelnu iegūstot atpazīstamību līdz mūsdienām.
Dizainera – amatnieka ieguldījums interjera dekorēšanas mākslā ir raksturojums kā izpētes vērts resurss un
informācijas avots mūsdienu dzīvesvides projektu izstrādē. V. Morisa tekstila un tapešu apdrukas daiļradi var
uzskatīt par neaizstājamu ieguldījumu ar pastāvošas vērtības nozīmi lietišķi dekoratīvās mākslas nozarē.

36