William Morris Research Paper

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Art and craft movements The Pre-Raphaelite Brotherhood The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood". The group’s goal was majorly to promote art by refusing the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members thought the Classical poses and elegant compositions of Raphael in particular had been a debasing influence on the academic teaching of art, hence the name …show more content…

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 development 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 multiple 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 significant in the revival of the private press. Art …show more content…

The major motifs of Egyptian art, such as obelisks, hieroglyphs, the sphinx, and pyramids, were used in various artistic media, including architecture, furniture (68.207a,b), ceramics, and silver. Egyptian motifs provided an exotic alternative to the more traditional styles of the day. Over the course of the nineteenth century, American tastes evolved from a highly ornamented aesthetic to a simpler, sparer sense of decoration; the vocabulary of ancient Egyptian art would be interpreted and adapted in different ways depending on the standards and motivations of the

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