William Morris

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Career and fame

Morris wanted a new home for himself and his children, which resulted in the building of the Red House in Upton, Kentish hamlet Bexleyheath, ten miles from central London. Morris was concentrating on the interiors and the exterior of the building, for whom the House referred to as an independent architect, and Webb was a co-operative venture. The Red Bricks and Red tiles from which it was constructed, as well as the red bricks and red tiles, the Red House rejected architectural principles by being L-shaped. The House was also influenced by various aspects of modern Neo-Gothic architecture, with Morris describing it as "very mediaeval in spirit." The house and garden were intricately linked in their plan, despite being located in an orchard. It took a year to build, and Morris' price dropped by a considerable amount at a time when his fortune was greatly reduced by a dramatic decline in his share price. Burne-Jones described it as "the most beautiful place on Earth" on Earth.

Morris invited people to visit, including Burne-Jones and his wife Georgiana, as well as Rossetti and his wife Lizzie Siddal, after reconstruction. They assisted him in painting murals on the furniture, walls, and ceilings, much of which was based on Arthurian legends, the Trojan War, and Geoffrey Chaucer's tales, while Geoffrey Chaucer's tales were included. They also spent a lot of time together, playing tricks on each other, playing hide and seek, and performing while accompanied by the piano. Siddall stayed at the House of Commons in 1861 as she recovered from a horrific miscarriage and an addiction to laudanum; she would die of an overdose in February 1862.

Morris, Marshall, Faulkner & Co. formed Morris, Marshall, Faulkner & Co., with six other clients: Burne-Jones, Rossetti, Webb, Ford Madox Brown, Charles Faulkner, and Peter Paul Marshall in April 1861. No. No. 1 is located in No. 2's location and operates from there. 6 Red Lion Square they referred to themselves as "the Company" and were determined to implement Ruskin's concepts of transforming British attitudes to production. They hoped to revive decoration as one of the fine arts while also introducing an emphasis on affordability and anti-elitism. They recruited boys from the Industrial Home for Destitute Boys in Euston, central London, some of whom were trained as apprentices.

They differed from Neo-Gothic architects like George Gilbert Scott, who simply included some Gothic features on modern building styles; rather, they sought to return entirely to Medieval Gothic craftsmanship. Furniture, architectural carving, metalwork, stained glass windows, and murals were among the Firm's products. Their stained glass windows were a particular success in the firm's early years as they were in high demand for the Neo-Gothic construction and renovation of churches, many of which were designed by architect George Frederick Bodley. Despite Morris' anti-elitist sentiments, the company emerged quickly among the bourgeoisie, particularly after an exhibition at the 1862 International Exhibition in South Kensington, where they received press interest and medals of commendation. However, established design firms, particularly those belonging to the Neo-Classical academy, had a lot of resistance.

Morris was gradually abandoning painting, realizing that his art had no sense of motion; no of his paintings are older than 1862. Rather, he concentrated his attention on creating wallpaper designs, the first being "Trellis," which was created in 1862. Jeffrey and Co. of Islington, who conceived them for the firm under Morris' direction, began in 1864. Morris retained an active interest in numerous organisations, including the Hogarth Club, the Mediaeval Society, and the Corps of Artist Volunteers, the latter in contrast to his later pacifism.

Morris' family's family's family's number has also increased in the meantime. Jane Alice Morris, Morris and Janey's first daughter, was born in January 1861: she was popularly referred to as "Jenny" in this period. Jenny was followed by her second daughter, Mary "May" Morris, in March 1862. Morris was a loving father to his children, and years later, they both described idyllic childhoods. However, Janey's marriage was plagued as a result of her proximity to Rossetti, who often painted her. If their affair was ever sexual, it is unknown, but by this time other members of the corporation were reporting Rossetti and Janey's closeness.

At Upton, Morris, imagining the establishment of an artistic group; Burne-Jones' son Christopher Burne-Jones could live with his family; the proposals were scrapped when Burne-Jones' son Christopher died from scarlet fever. Morris had become increasingly sick of life at Red House by 1864, being particularly dissatisfied with the 3 to four hours of commuting to his London office on a daily basis. He sold Red House and his family moved to No. No. in autumn 1865. 26 Queen Square in Bloomsbury, the same building in which the company had relocated its base of operations earlier this year.

The Morris family lived in a building directly across the street from Queen Square's store. Janey Burden's sister Elizabeth Burden and a number of household servants were welcomed to the family. In the meantime, Faulkner's resignation, as well as the search for a new manager, Warrington Taylor, who would remain with them until 1866, were afoot at the company. Taylor brought the company's finances into order, spent a long time politizing Morris and ensuring that he worked as planned. During these years, the firm produced a number of high-profile projects, from September 1866 to January 1867, including the creation of the Green Dining Room at the Victoria and Albert Museum in St James' Palace in the latter year. People in the United States were increasingly interested in the firm's work, which culminated in Morris' acquaintance with Henry James and Charles Eliot Norton. Despite its growth, Morris's net loss was not turning over a large net loss, and that, along with decreasing values of Morris' stock, meant he had to reduce his spending.

Janey's relationship with Rossetti had existed, and rumors about their affair had spread about London, where they were often seen spending time together. Fiona MacCarthy, a Morris biographer, argued that it was likely that Morris had learned of and acknowledged the existence of their affair by 1870. Despite no evidence that he had an affair this year, he formed an affectionate friendship with Aglaia Coronio, the daughter of wealthy Greek refugees, in this year. Morris' relationship with his mother had also improved, and he would now bring his wife and children to visit her at her Leyton home. He went on various holidays throughout the summer of 1866; Webb and Taylor toured the churches of northern France.

Morris spent his holiday in Lymington in August 1866, while both families celebrated together in Oxford in August 1867. The Morrises holidayed in Southwold, Suffolk, in August 1867, while Morris' wife spent her time in Bad Ems, Rhineland-Palatinate, central Germany, where it was hoped that the local health waters would help her. He loved walks in the countryside and concentrated on writing poetry while there.

Morris had to devote a lot of time to writing poetry. Bell and Dandy published Morris' life and death of Jason at his own expense in 1867. The book was a retelling of the ancient Greek myth of the hero Jason and his quest for the Golden Fleece. The Life and Death of Jason, Morris's previous book, was well-reced, resulting in the publishers charging Morris a fee for the second edition. Morris worked on another epic poem, The Earthly Paradise, from 1865 to 1870. It was created as a tribute to Chaucer and featured 24 stories from a variety of cultures, each with a different narrator; on the way finding an island where the inhabitants continue to venerate the ancient Greek gods, the participants stayed on a coastal island in the late 14th century. It was published in four parts by F. S. Ellis and established Morris' reputation as a leading poet.

Morris was already a public figure in the United Kingdom by 1870, resulting in repeated press calls for photographs, which he resent. He reluctantly agreed to a portrait by establishment painter George Frederic Watts last year. Morris, who befriended the Icelandic theologian Eirkur Magnusson, was keenly interested in Icelandic literature. They produced prose translations of the Eddas and Sagas for English distribution. Morris also became interested in handwritten illuminated manuscripts, resulting in 1870-1975, the first of which was A Book of Verse, was completed as a birthday gift for Georgina Burne-Jones. Halfdan the Black, Frithiof the Bold, and The Dwellers of Eyr were handwritten copies of Nordic tales by 12 of these 18 authors. Morris regarded calligraphy as an art form, and he learned how to make gilded letters as well as Roman and italic script. He published Love is Enough, a poetic drama based on a tale in the Medieval Welsh text, the Mabinogion, in November 1872. It was not a huge success, especially with Burne-Jones woodcuts. He had started working on The Novel on Blue Paper, a love triangle story set in the 1871s, but it was not complete, and Morris later claimed that it was not well written.

Morris began looking for a home outside of London, where his children could spend time away from the city's noise by the summer 1871. He settled on Kelmscott Manor, Oxfordshire, obtaining a joint tenancy with Rossetti in June. Morris adored the building, which was built circa 1570, and spent a long time in the local countryside. Rossetti, on the other hand, was dissatisfied with Kelmscott's work and suffered with a mental breakdown. Morris divided his time between London and Kelmscott, but Rossetti did not stay more than three days at a time when he was in London. He became sick of his family's house in Queen Square and decided to buy a new house in London. Although retaining a personal bedroom and research at Queen Square, he and his family relocatingd to Horrington House in Turnham Green Road, West London, in January 1873. This brought him much closer to Burne-Jones' home, with the two groups meeting virtually every Sunday morning for the remainder of Morris's life.

In July 1871 Morris left Jane and his children with Rossetti at Kelmscott, England's sixth child, and Eirkur. The crews, sailing from Granton, Scotland, on a Danish mail boat, rodet Tórshavn in the Faroe Islands, before arriving in Reykjavk, where they disembarked. Jón Sigursson, the President of Althing, was visiting them there, with Morris being sympathetic to the Icelandic independence movement. They travelled along the south coast to Bergrshful, Geysmörk, Geysir, ingvellir, and then back to Reyjkavr, where they returned to Britain in September. Morris and Burne-Jones honeymooned in Italy in April 1873, visiting Florence and Siena. Morris, although generally disliking the country, was drawn to the Florentine Gothic architecture. Morris returned to Iceland in July, revisiting many of the places he had visited before, but then headed north to Vatna glacier and Fljótsdalur. His two visits to the country influenced him greatly, particularly in his emerging leftist views; he'll say that these trips made him realize that "the most grinding poverty is a trifling evil," relative to class inequality.

Morris and Burne-Jones spent time with one of the company's clients, the opulent George Howard, the 9th Earl of Carlisle and his wife Rosalind at their Medieval home in Naworth Castle, Cumberland. The Morris family took Burne-Jones' two children with them on their holiday to Bruges, Belgium, in July 1874. Morris' relationship with Rossetti had eroded by this time, and Rossetti's acrimonious demise in July 1874 led him to leave Kelmscott, according to Morris' book F.S. Ellis is in charge of his replacement. Morris decided to solidify his own authority of the business rather than relying on other initiatives, rather than relying on other projects. In March 1875, he and Rossetti, Brown, and Marshall received £1000 each in damages, but the other partners dropped their requests for financial assistance. The firm was officially disbanded and replaced by Morris & Co. in March, but Burne-Jones and Webb will continue to produce plans for it in the future. He resigned as the Devon Great Consols' directorship, selling his remaining shares.

Morris, now in complete control of the company, took an increased interest in textile dyeing and entered into a co-operative deal with Thomas Wardle, a silk dyer who operated the Hencroft Works in Leek, Staffordshire, who worked with Hencroft Works. As a result, Morris would spend time at Wardle's house from summer 1875 to spring 1878. Morris, deeming the colours to be of inferior quality, has discarded chemical aniline dyes that were then popular, instead focusing on organic dyes, such as indigo for blue, walnut shells, and roots for brown, and cochineal, kermes, and madder for red. He gained a personal knowledge of manufacturing and the lives of the proletariat, and was disgusted by working conditions and industry pollution; these factors heavily influenced his political views. Morris converted to weaving in the late 1870s, experimenting with silk weaving at Queen's Square.

The firm opened a No. 11 store in 1877 in the Spring. 449 Oxford Street hired new people who could enhance the company's professionalism; as a result, sales increased and the company's fame increased. Morris & Co. had become a household name by 1880, having become extremely popular with Britain's upper and middle classes. With Morris supplying parts of St James' Palace and the chapel at Eaton Hall, the firm was increasingly receiving increasing commissions from aristocrats, wealthy industrialists, and provincial entrepreneurs. Morris was personally dissatisfied with these people's welfare, as a result of his growing sympathy for the working-classes and poor, describing it as "ministering to the swinish luxury of the wealthy."

Morris adapted his own version of Virgil's Aeneid, titling it The Aeneids of Vergil (1876). Although many translations were already available, Morris said his unique viewpoint was as "a poet not a pedant." Magnsson's translators of Icelandic tales, including Three Northern Love Stories (1875) and Völuspa Saga (1876), among others. Morris was approached by Oxford University in 1877 and offered the position of Professor of Poetry, which was largely honorary. He denied, claiming that he was unqualified despite knowing little about poetry's philosophy.

Jenny Morris was diagnosed with epilepsy in 1876. Morris asked that she be cared for by the family rather than allowing her to be socially marginalized or institutionalized, as was normal in the period. The late one, Janey, brought May and Jenny to Oneglia in Italy, had a serious seizure, with Morris rushing to see her. They continued to visit a number of other cities, including Venice, Padua, and Verona, with Morris gaining a greater appreciation of the country than he did on his previous visit. Morris returned to his family's Upper Mall in West London in April 1879, this time renting an 18th-century mansion that was once owned by novelist George MacDonald. Morris calls it Kelmscott House and re-decorates it according to his own taste. He established a workshop in the House's grounds, focusing on the manufacture of hand-knotted carpets. Both of his family lived along the River Thames in August 1880, and he and his family rode the river from Kelmscott House to Kelmscott Manor.

Morris became politically active in this period, identifying with the nascent British liberalism. He joined the Eastern Question Association (EQA) and was named as the group's treasurer in November 1876. EQA had been formed by campaigners for the Centre-left Liberal Party, which condemned Prime Minister Benjamin Disraeli's embrace with the Ottoman Empire; the association highlighted the Ottoman massacre of Bulgarians and feared that the alliance would bring Disraeli to war with the Ottomans. Morris was instrumental in the EQA process, influencing the lyrics for the song "Wake, London Lads!" At a protest against military involvement, a march against military involvement was sung. Morris eventually became disillusioned with the EQA, describing it as "full of wretched little characters" and "fully wretched little personalities." Nevertheless, he joined the National Liberal League, a predominantly working-class EQA activist group, in summer 1879, becoming their treasurer; the organization was still small and ineffective, with Morris resigning as treasurer shortly before the organization's demise in late 1881.

However, his dissatisfaction with the British liberal party soared following his 1880 return to the Premiership by William Ewart Gladstone. Morris was particularly angry that Gladstone's government did not change the Transvaal's occupation by the Disraeli regime, introduced the Coercion Bill, and oversaw Alexandria's Bombardment. Morris later stated that although he had once thought that "one could advance genuine Socialistic change by doing what one could do on the lines of ordinary middle-class Radicalism" and that "radicalism is on the wrong track" and would never advance [sic] into anything more than Radicalism: in fact, it will always be under the thumb of rich capitalists.

Morris visited the Church of St John the Baptist in Burford, where he was elted at the restoration carried out by his old mentor, G. E. Street. He acknowledged that these programs of architectural restoration resulted in the destruction or complete restoration of authentic old features in order to replace them with "sham old" features, something that alarmed him. In March 1877, he founded the Society for the Protection of Ancient Buildings (SPAB), which he personally referred to as "Anti-Scrape" to combat the increasing trend toward restoration. The majority of SPAB's early members of the Society of Honorary Secretary and Treasurer were his acquaintances, while the group's curriculum was based in Ruskin's The Seven Lamps of Architecture (1849). Morris continued to develop links with ancient Greek settlers and custodians of old buildings as part of SPAB's campaign, and he even called the news to emphasize his cause. He was particularly vocal in condemning the ongoing restoration of Tewkesbury Abbey and he was outspoken in condemning the architects responsible, causing a lot of anxiety on Street. Turning SPAB's attention elsewhere. In autumn 1879, Morris began a campaign to shield St Mark's Basilica in Venice from restoration, receiving 2000 signatures, among whom were Disraeli, Gladstone, and Ruskin.

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