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William Morris: the Theory and Practice of Craft

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William Morris: the Theory and Practice of Craft British Studies 497c WILLIAM MORRIS: THE THEORY AND PRACTICE OF CRAFT Professor Edward S. Cooke, Jr. Department of the History of Art e-mail: <[email protected]> Class meetings: Monday, Wednesday, 10:00-12:30, PMC classroom or in the field Office hours: by appointment Course Rationale William Morris (1834-1896), the legendary British arts and crafts activist, was a prolific writer and doer. At various points in his life he was celebrated as a writer, painter, designer, craftsman, socialist, preservationist, and historian. He wrote prose and essays throughout his life, but he also became an accomplished dyer, weaver, printer, and designer. In the late nineteenth century, his influence was substantial but his stature has fragmented or even declined over the course of the twentieth. His designs for wallpaper, textiles, and books have been most enduring. Arts and Crafts enthusiasts always cite him but have rarely read much of his writings or have a full command of his activities. Some subsequent scholars, such as Nikolaus Pevsner, have celebrated him as a proto-modernist, while others, such as Jackson Lears, portray him as an antimodernist. Yet familiarity with the full range of Morris’s activities reveals that his influence has been considerable in the subsequent practice and theorizing of the decorative arts. It was Morris who articulated the view that craft, the act of pleasurable skilled work, could be both a form of art and a form of political activism. Taking full advantage of resources in the London and Oxford area, this seminar will consider the full measure of Morris, provide a sense of his context, and explore his influence in the twentieth century. Course Requirements The seminar will require weekly reading, a short 1- or 2-paragraph reading response for each week, a 15-minute oral presentation on a specific figure or subject chosen at the first meeting of the class, active discussion and participation in class and on field trips, and a 5-7 page research paper on a specific Morris object of your choosing (from the collections at the V & A, the William Morris Gallery, or the British Library). Please consult with me during the third week to talk about this. Course Readings The PMC Library has a good selection of Morris’s writings, but I would encourage you to purchase five books: Linda Perry, ed., William Morris (New York: Abrams, 1996), Diane Waggoner, ed., The Beauty of Life: William Morris & The Art of Design (New York: Thames & Hudson, 2003), Imogen Hart, Arts and Crafts Objects (Manchester: Manchester University Press, 2010); Clive Wilmer, ed., William Morris, News From Nowhere and Other Writings (New York: Penguin, 1994); and Fiona MacCarthy, Anarchy & Beauty: William Morris and His Legacy, 1860-1960 (New Haven: Yale University Press, 2014). The Parry and Wilmot volumes will be particularly useful to have on your shelf. Books assigned for reading will also be in the PMC Library. All of the important article length readings can be found on e-reserve through the classesv2 page for the class; these readings are marked with a [~]. Helpful biographies of Morris include J. W. Mackail, The Life of William Morris (London: Longmans, 1899); E.P. Thompson, William Morris: Romantic to Revolutionary (1955; New York: Pantheon, 1976), and Fiona MacCarthy, A Life for Our Time (New York: Knopf, 1995). For additional bibliographical leads, see David Latham and Sheila Latham, An Annotated Critical Bibliography of William Morris (New York: St. Martin’s Press, 1991) and the Journal of the William Morris Society. Helpful compilations are May Morris’s twenty-four volume Collected Works of William Morris and a website with many of his articles, www.marxists.org/archive/morris/index.htm. Another helpful website is that of the William Morris Society: http://www.morrissociety.org/. June 9 Introduction (class will be at 2 pm) Readings: Linda Parry, ed., William Morris (New York: Abrams, 1996), pp. 12-31. Diane Waggoner, ed., The Beauty of Life: William Morris & The Art of Design (New York: Thames & Hudson, 2003), pp. 21-31. Fiona MacCarthy, Anarchy & Beauty: William Morris and His Legacy, 1860- 1960 (New Haven: Yale University Press, 2014), pp. 8-17. June 10 Design Reform in the Second Half of the Nineteenth Century Field Trip: Victoria & Albert Museum (meet at Cromwell Road entrance at 10 am; 10 to 12:30 in the British Galleries; 12:30 lunch together in the Green Dining Room) Readings: Parry, pp. 352-61. Imogen Hart, Arts and Crafts Objects (Manchester: Manchester University Press, 2010), pp. 31-66. John Ruskin, “The Nature of Gothic” in The Stones of Venice (1851-53; reprint ed., London: Smith Elder and Company, 1874), vol. 2, pp. 151-231. [~] Look at A.W.N. Pugin, Contrasts (1836; reprint ed., Edinburgh: John Grant, 1898). [~] Topics of Focus: Henry Cole, Owen Jones, Gothic Court, Green Dining Room June 15 Morris and the Pre-Raphaelite Circle Readings: Parry, pp. 32-48 and 89-105. Timothy Barringer, Reading the Pre-Raphaelites (New Haven: Yale University Press, 1999), pp. 6-53. [~] Topics of Focus: Thomas Malory, Morte d’Arthur (ca. 1470); Dante Rossetti June 17 The Pre-Raphaelite Life Style Field Trip: Red House Readings: Selections from Peter Faulkner, ed., William Morris: Selected Poems (New York: Routledge, 2002), pp. 32-45, 51-58, 90-98, 146, and 156 (“King Arthur’s Tomb,” “Concerning Geffray Teste Noire,” the months from “The Earthly Paradise,” “Mine and Thine,” and “For the Bed at Kelmscott”). [~] William Morris, “The Story of the Unknown Church” (1856) in Clive Wilmer, ed., William Morris, News From Nowhere and Other Writings (New York: Penguin, 1994), pp. 3-13. Esmé Whittaker, “Reading the Walls: William Morris and the Art of Storytelling” in William Morris: Story, Memory, Myth (London: Two Temple Place, 2011), pp. 7-27. [~] MacCarthy, pp. 18-37. Topics of Focus: Philip Webb, Edward Burne-Jones June 22 The High Game and the Business Field Trip: Cambridge University Readings: Parry, pp. 49-57. Waggoner, pp. 33-87. Hart, pp. 112-47. Familiarize yourself with Parry, pp. 106-295. Topics of Focus: Morris stained glass; Morris tiles June 24 Morris on Craft Readings: William Morris, “The Lesser Arts” (1877) and “Some Hints on Pattern Designing” (1881) in Wilmer, pp. 233-83. “Lesser Arts of Life” (1882). [~] “Textile Fabrics” (1884). [~] “Art and Industry in the 14th Century” (1890). [~] “The Arts and Crafts of Today” (1889). [~] “Revival of Handicraft” (1888). [~] “Art and Its Producers” (1888). [~] Topics of Focus: Morris textiles, Morris wallpapers June 29 Ornament and Story: The Book Arts Field Trip: Emery Walker House and Kelmscott House in Hammersmith Readings: Waggoner, pp. 88-97. Parry, pp. 296-341. Hart, pp. 67-111. Aileen Webb, “7 Hammersmith Terrace, London: The Last Arts and Crafts Interior,” The Decorative Arts Society 1850 to the Present Journal 28 (2004): 184-203. [~] William Morris, “A Note by William Morris on His Aims in Founding the Kelmscott Press” (1896) in Wilmer, pp. 385-90. Topics of Focus: Emery Walker, Doves Press, T. J. Cobden Sanderson July 1 Morris and Artisanal Socialism Field Trip: William Morris Gallery Readings: Stephen Eisenman, “Communism in Furs: A Dream of Prehistory in William Morris’s John Ball,” in The Art Bulletin 87, no. 1 (March 2005), pp. 92-110. [~] Caroline Arscott, “William Morris: Decoration and Materialism,” in Andrew Hemingway, ed., Marxism and the History of Art: From William Morris to the New Left (London: Pluto Press, 2006), pp. 9-27 and 225-30. William Morris, “Art and Socialism” (1884). [~] William Morris, “How I Became a Socialist” (1894) in Wilmer, pp. 379-83. William Morris, “Useful Work vs. Useless Toil” (1884) in Wilmer, pp. 287-306. July 6-8 Long Field Trip--Utopian Crafts: News From Nowhere Field Trip: Kelmscott Manor, St. John the Baptist in Inglesham, Buscot Park, Oxford, Cheltenham, Chipping Camden. Readings: William Morris, News From Nowhere: or, an Epoch of Rest (1891) in Wilmer, William Morris, News From Nowhere and Other Writings. Topics of Focus: C. R. Ashbee; Ernest Gimson, Oxford Union Debating Hall July 13 Morris’s Legacy: Preservation Readings: Parry, pp. 72-87. Chris Miele, ed., From William Morris: Building Conservation and the Arts and Crafts Cult of Authenticity, 1877-1939 (New Haven: Yale University Press, 2005), pp. 30-65. [~] William Morris, “Westminster Abbey” (1893). [~] William Morris, “The Influence of Building Materials Upon Architecture” (1891). [~] William Morris, “External Covering of Roofs” (1890). [~]. Topics of Focus: Society for the Protection of Ancient Buildings. July 14 Morris’s Legacy: Organizations and Inspiration (class meets at 2 pm) Readings: Hart, pp. 148-213 Tanya Harrod, The Crafts in Britain in the 20th Century (New Haven: Yale University Press, 1999), pp. 15-28. [~] MacCarthy, pp. 92-107. Edward S. Cooke, Jr., “The Long Shadow of William Morris: Paradigmatic Problems of Twentieth-Century American Furniture,” in Luke Beckerdite, ed., American Furniture 2003 (Hanover, NH: University Press of New England, 2003), pp. 213-37. [~]. Topics of Focus: Walter Crane, W. R. Lethaby, Omega Worshops July 16 Final Papers Due electronically or at PMC by 5 pm Grading will be based on the following means of assessment 1. Class participation, meaning your verbal engagement either in class or on field visits, giving evidence of background reading and intelligent observation. (20% of your final grade) 2. Reading responses (20% of your final grade) 3. Your oral presentation (20% of your final grade) 4. A research paper of about 5-7 pages on a subject you choose in discussion with Professor Cooke (40% of your final grade) .
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