‘William Morris’ as describe in the book published in association with the V&A collection.
‘Morris’s strength as a designer came from his exquisite observation.’ (p.33)
‘His own ideas of pattern embraced memory and nature’ ‘Morris’s ideal pattern held ‘unmistakable suggestion of gardens and fields’.‘ (p.34)
‘Morris was his own best example ‘of the power of pattern to sooth and civilise.’‘ (p.34)
‘Morris’s test for an successful pattern was that it provoked thought and concentrated feeling.’ (p.40)
‘Morris absorbed colour with a poets eye…’ (p.34)
‘His precocious reading of Gothic stories and medieval mysteries taught him to see colour in terms of panoramic history. […] Morris took the colours of the past – the red of the knights, the purple of the emperors, the stern grey stonework of old village churches, the shrill blue that was the colour of ancient holidays – and gathered them into his own decretive palette.’ (p.34)
‘The Barbarossa furniture was hardly functional. There were other things at issue beyond mere practicality. Morris believed in resonance, the mystic, the spectacular: As a designer of furniture he had a sweeping arrogance: ‘If you want to be comfortable go to bed.’‘ (p.36)
‘The thousands of Morris’s remaining working drawings, mostly for wallpapers and textiles, show his characteristic liner exactness reining in the deep sweep of his imaginative surge.’ (p.34)
‘He produced at least thirty-two designs for printed fabrics, twenty-three for woven fabrics, twenty-one designs for wallpapers as well as designs for carpets and rugs, embroideries and tapestries between 1875 and 1885.’ (p.40)
Staff, A.M. (1996) William Morris: [published to coincide with the exhibition William Morris 1834 – 1896, held at the Victoria & Albert Museum, London, 9 may – 1 September 1996]. Edited by Linda Parry. London: Philip Wilson Publishers in association with The Victoria and Albert Museum.