Thursday, February 27, 2020

The art and paradox of William Morris




“William Morris: Artist, Craftsman, Pioneer” is a book by Rosalind Ormiston and Nicholas Michael Wells. It´s intended as an introduction to the art and ideas of William Morris (1834-1896). The volume is lavishly illustrated with Morris´ varied artworks, all in color, and is published in coffee table format. The British polymath Morris was painter, poet, designer of wall-papers and carpets, typographer, utopist and political activist all in one.

William Morris cooperated with the painters of the so-called Pre-Raphaelite Brotherhood, including Edward Burn-Jones and Dante Gabriel Rossetti. Unfortunately, Morris also competed with Rossetti – both had the same love interest and purported muse, Jane Burden, who was also the foremost Pre-Raphaelite model. Other influences on Morris came from the traditionalist High Tory and art critic John Ruskin. Morris and his future associates were originally close to Anglo-Catholicism and wanted to become clergymen. Later in life, Morris became a socialist and joined the Social Democratic Federation and – following a split - the Socialist League. The book claims that Morris shortly before his death was offered to become chair of the Labour Party, which would be sensational, since the party didn´t even exist at the time. Perhaps this is a reference to the Independent Labour Party? (The authors also claim that Morris designed some upper-class cabins onboard the “Titanic”, but the ill-reputed ship wasn´t built until years after Morris´ death!)

Despite Morris´ nominal switch from “conservatism” to “socialism”, his fundamental ideas seem to have been pretty much the same throughout. Morris romanticized the Middle Ages, supposedly a period when society, work and art were “natural”. He wanted a pastoral, decentralized society with handicraft-based production. In Morris´ view, traditional handicrafts didn´t alienate the producer from the finished product, while promoting professionalism. By contrast, modern mass production was alienating, impoverished the workers and destroyed the environment, while also making shoddy products. Morris had a profoundly moral view of art, and somehow believed that a moral art could lead to a moral society. Even as a socialist, Morris continued to promote medieval romanticism, for instance in his utopian novel “News from Nowhere”. Some of his ideas were paradoxical. Thus, while opposing mass production, he nevertheless believed that art must be relevant for the people, have utility and a connection to everyday life, while also reflecting Nature. In real life, the dreamy socialist Morris was a successful capitalist, selling most of his art to the super-rich. They were the only people who could afford his works! Without mass production, Morris couldn´t really reach the common people with his arts and crafts… Morris became part and parcel of the “Victorian” age and culture he so despised. He even took a royal commission to redecorate the Throne Room and the Wellington Room in St James´ Palace!

I admit that I don´t vibrate with William Morris and his medievalist and nature romanticism. Veneration of “Nature” is itself a modern phenomenon, since only modern man (really dependent on industry and trade to survive) can view himself as radically different from it, while simultaneously also idealize it. Somehow, I doubt that ancient slaves, serfs or plague victims (or even artisans) idealized Nature, but sure, I suppose I could be wrong there. In modern society, nature romanticism is the preserve of the rich and the privileged (or their counter-cultural drop-outs). It was Marie Antoinette who pretended to be a shepherdess in a gigantic pastoral, while the actual shepherdesses presumably starved to death. Morris was right to support the emerging labor movement, warts and all, but his socialism remained a petty-bourgeois utopia.

The best part of the book are the photos, all in color, of Morris´ art. Yes, many of his wall-paper designs have been included! It was interesting to note that Morris found his inspiration in a wide variety of sources, including books on India! Some Pre-Raphaelite works have been included for reference, and some who were co-produced by Morris, Burne-Jones and John Henry Dearle. (My favorite is, ironically, “Angeli Ministrantes” by the two latter.)

Recommended for your coffee table, and much cheaper than the finely crafted originals…

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