Tulips and peacocks

• Titel: Tulips and peacocks
• Titelzusatz: William Morris and art from the Islamic world
• Mitwirkende: Bain, Rowan [HerausgeberIn]
• Institutionen: William Morris Gallery [Herausgebendes Organ]
• Verf.angabe: edited by Rowan Bain
• Verlagsort: New Haven ; London
• Verlag: Yale University Press in association with William Morris Gallery
• E-Jahr: 2024
• Jahr: [2024]
• Umfang: 200 Seiten
• Illustrationen: Illustrationen
• Format: 28 cm
• Fussnoten: Literaturverzeichnis: Seite 183-189. - Index
• ISBN: 978-0-300-27616-9
• Schlagwörter: (s)Islam / (s)Kunst / (s)Rezeption / (p)Morris, William / (s)Ornament / (s)Teppich
• Schlagwörter: (s)Textilien
• Dokumenttyp: Aufsatzsammlung
• Sprache: eng
• Sach-SW: Art islamique - Influence
• Sach-SW: Art islamique - Collections privées - Angleterre
• Sach-SW: Dessinateurs de tissus - Angleterre - Biographies
• Sach-SW: Arts and crafts movement - Histoire
• Sach-SW: Décoration et ornement - Thèmes, motifs
• Sach-SW: Biographies
• Sach-SW: Biographies
• K10plus-PPN: 1915349885

Abstract

"An introduction to William Morris's personal collection of artworks from the Islamic world and how they came to influence his pattern making. One of the principal founders of the Arts and Crafts movement, William Morris was responsible for hundreds of patterns for wallpapers, fabrics, tapestries, and carpets that are iconic of the late nineteenth century and continue to resonate today. It is now widely acknowledged that his artistic production was stimulated by his deep familiarity with embroideries, woven velvets, silks, carpets, and metalwork from Iran, Syria, and Turkey, which he collected throughout his lifetime. Ranging from popular nineteenth century tourist merchandise to rare artefacts of historical significance, Morris's collection is a testament to the interconnectedness of global artistic traditions and the enduring importance of recognising the contributions of various cultures to the evolution of his design and craftsmanship. This highly illustrated publication offers diverse perspectives in contextualising Morris's role within contemporary debates around colonial collecting, Islam's representation in the museum context, and issues of cultural appropriation from contributors within the field of British Arts and Crafts and Art from the Islamic world"--Publisher's description

Abstract

"A principal founder of the Arts and Crafts Movement, William Morris was responsible for producing hundreds of patterns for wallpapers, furnishing fabrics, carpets and embroideries, helping to introduce a new aesthetic into British interiors. While it has long been acknowledged that Morris was inspired by Islamic art, this will be the first exhibition to examine this important aspect of his artistic journey in depth. Alongside his own iconic designs, outstanding examples of Islamic textiles, ceramics, metalwork and manuscripts from Morris's personal collection - now belonging to major UK institutions including the British Library, Birmingham Museum and Art Gallery and the Fitzwilliam Museum, Cambridge - will be brought together for the first time to reveal the wider impacts of these objects, their designs and impressions on Morris's creative output. The umbrella terms "Islamic world" and "Islamic art" are widely used to facilitate the categorisation of art produced in areas where Islam was the dominant religion or the religion of those who ruled. However, they perpetuate the notion that there is a single identity or uniformity within the vast output of production from across huge geographical regions. These ideas will be explored and discussed further in the exhibition and public programme. Featuring over 60 works, the exhibition will demonstrate how some of Morris's best-known designs such as Flower Garden (1879), Wild Tulip and Granada (1884) were directly inspired by Islamic surface design and its technical application. This exhibition sets out to enrich our appreciation of Morris's work and broaden our understanding of the underlying influences of this quintessentially British designer. The exhibition is made possible thanks to funding from The National Lottery Heritage Fund and the Garfield Weston Foundation."--