William morris full color patterns & designs

Voilà en bref notre position d'artistes : nous sommes les derniers représentants de l'artisanat auquel la production marchande a porté un coup fatal. (William Morris, Edimbourg, 1889)Pour William Morris, la distinction entre l'art et l'artisanat, entre la conception et l'exécution, devait être abolie : tout homme, à son échelle, pouvait être producteur de beauté - que ce soit dans la réalisation d'un tableau, d'un vêtement, d'un meuble ; et tout homme également avait le droit, dans sa vie quotidienne, d'être entouré de beaux objets. (Michel Houellebecq, La carte et le territoire)

L'art et l'artisanat

La Source au bout du monde - 2

A young Viking sets off on a quest to rescue his kidnapped bride and, along the way, discovers an earthly paradise. Somehow he must turn his back on this paradise to complete his quest to find a woman he barely knows.

The Story of the Glittering Plain; or, The Land of Living Men

I think the following question is an important one: Which shall art belong to, wealth or riches? Whose servant shall she be? or rather, Shall she be the slave of riches, or the friend and helpmate of wealth? Indeed, if I put the question in another form, and ask: Is art to be limited to a narrow class who only care for it in a very languid way, or is it to be the solace and pleasure of the whole people? the question finally comes to this: Are we to have art or the pretence of art? It is like enough that to many or even most of you the question will seem of no practical importance. To most people the present condition of art does seem in the main to be the only condition it could exist in among cultivated people, and they are content with its present aims and tendencies. For myself, I am so discontented with the present conditions of art, and the matter seems to me so serious, that I am forced to try to make other people share my discontent, and am this evening risking the committal of a breach of good manners by standing before you, grievance in hand, on an occasion like this, when everybody present, I feel sure, is full of goodwill both towards the arts and towards the public. My only excuse is my belief in the sincerity of your wish to know any serious views that can be taken of a matter so important. So I will say that the question I have asked, whether art is to be the helpmate of wealth or the slave of riches, is of great practical import, if indeed art is important to the human race, which I suppose no one here will gainsay...

Art, Wealth, and Riches - The Relations of Art to Labour

Art is long and life is short; let us at least do something before we die. We seek perfection, but can find no perfect means to bring it about; let it be enough for us if we can unite with those whose aims are right, and their means honest and feasible. I tell you if we wait for perfection in association in these days of combat we shall die before we can do anything. Help us now, you whom the fortune of your birth has helped to make wise and refined; and as you help us in our work-a-day business toward the success of the cause, instill into us your superior wisdom, your superior refinement, and you in your turn may be helped by the courage and hope of those who are not so completely wise and refined. Remember we have but one weapon against that terrible organization of selfishness which we attack, and that weapon is Union. Yes, and it should be obvious union, which we can be conscious of as we mix with others who are hostile or indifferent to the cause; organized brotherhood is that which must break the spell of anarchical Plutocracy. One man with an idea in his head is in danger of being considered a madman; two men with the same idea in common may be foolish, but can hardly be mad; ten men sharing an idea begin to act, a hundred draw attention as fanatics, a thousand and society begins to tremble, a hundred thousand and there is war abroad, and the cause has victories tangible and real; and why only a hundred thousand? You and I who agree together, it is we who have to answer that question.

Art under Plutocracy - Art and its Producers

What is the condition of Society under which we live? Is it satisfactory, is it quite as we should all like it to be? Does it quite please you who are listening to me, so that there is nothing you want to alter in it?
If that is the case, then none of my hearers are poor, and none have any fear of becoming poor; I am speaking to a crowd of rich men who are quite sure that they will always be rich. Well I see that is not quite the case; some of us are poor, some of us are afraid of becoming poor; some of us have to do very unpleasant work; all of us have to work more than we like; and we know of people who are worse off in all these matters than we are: So we do want to alter things if we could: we are not quite contented: if we say we are, we are not speaking truly but say so because we don't `want to argue, or because we want to get something out of rich people whose interest it is that we should be contented.
Well I should wonder if we were contented; for when we look at the present state of Society we find that the majority of people have every reason to wish to be better off than they are, that in point of fact they are living in misery. Let us look at the various conditions of life and see what portion of the whole people has good reason to be pleased with their share of the wealth, ease, good living, in a word, the happiness of this most highly civilized country...

Misery and the Way Out

En 1857, dans une Angleterre victorienne patriarcale, William Morris, poète de 23 ans proche du mouvement préraphaélite, s'empare de la légende arthurienne qui connaît alors une popularité croissante.
Mais, au lieu de célébrer les exploits des chevaliers, l'auteur décide de donner pour la première fois la parole à la reine Guenièvre. Reprenant l'un des épisodes les plus célèbres du mythe du Camelot durant lequel la souveraine est accusée d'adultère avec Lancelot, William Morris place Guenièvre au centre de son récit et lui laisse le champ libre pour qu'elle présente seule sa défense devant un parterre de juges : tous des chevaliers, tous des hommes. La reine développe alors ses arguments, défend son amour et montre qu'elle a aussi été contrainte dans une condition qu'elle n'a pas voulue.

La défense de Guenièvre

Proviamo a immaginare una società dove bellezza e giustizia si incontrano, dove non ci sono convenzioni sociali come scuola, denaro, matrimoni e carceri e dove si respira eguaglianza tra i cittadini. Questo è l'esercizio che William Morris, scrittore, poeta ed artista inglese, ha portato avanti nel 1890 con questo romanzo utopico: l'invenzione del futuro. Il protagonista è William Guest, un militante socialista, che dopo una riunione finita con un'accesa discussione, torna a casa e si addormenta. Si sveglierà ben 113 anni dopo, nel XXI secolo, l'epoca in cui oggi viviamo. Dalla Londra di fine '800 si passa al 2003, dopo una rivoluzione negli anni '50 del 900 che ha radicalmente cambiato la società. Morris immagina il futuro per condannare il presente: lo fa con uno sguardo gentile ma capace di critiche profonde come la voglia di estirpare "inutili covi di speculazione" e "enormi fabbriche". Notizie da nessun luogo rappresenta una riflessione sull'uomo e sulla società e come tutte le utopie prevede tanto un approccio analitico quanto uno fantastico. Morris lo fa incentrando questo romanzo sui concetti di riduzione e semplificazione dei bisogni dell'uomo.

William morris full color patterns & designs

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