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Dossier Premsa Dossier de premsa Del 22 de febrer al 21 de maig de 2018 Organitzen i produeixen: Museu Nacional d’Art de Catalunya i Fundación Juan March Equip curatorial: Manuel Fontán del Junco i María Zozaya (Álvarez (Fundación Juan March), i les comissàries convidades Joanna Banham, Pat Kikham i Karen Livingstone William Morris per a Morris & Co. Fragment tèxtil Rose [Rosa], 1883. Museo Nacional de Artes Decorativas, Madrid William Morris i el moviment Arts and Crafts a Gran Bretanya, produïda pel Mu- seu Nacional d’Art de Catalunya i la Fundación Juan March, es proposa explorar en profunditat les múltiples facetes del dissenyador, artesà, empresari, poeta, assagista i agitador social William Morris (1834-1896), així com de les principals figures del movi- ment britànic Arts and Crafts. El projecte tracta de mostrar no només la figura històrica de Morris, sinó també la vigència de la seva obra i les seves idees. Aquesta exposició s’inscriu en la línia de treball que porta a terme el Museu Nacional per presentar els grans moviments europeus en relació amb la seva col·lecció, en aquest cas el modernisme. 3 William, Jane i Jenny Morris Honeysuckle [Madreselva], Philip Speakman Webb. Detalls constructius de la Red House, 1859. Victoria and Albert 1876. William Morris Gallery, London rough of Waltham Museum, Londres Forest, Londres William Morris i el moviment Arts and Crafts a Gran Bretanya està organitzada en quatre seccions cronològiques i temàtiques, i presenta 300 peces importants de mobiliari, tèxtils, papers pintats, joies, vidre, ceràmica, metal·listeria, enquadernacions, pintura, dibuix, gravat i fotografia. Entre les obres exposades destaquen un immens tapís realitzat per Morris & Co. a la dècada de 1890 que il·lustra la llegenda del Sant Greal, l’armari d’Ernest Gimson pintat per Alfred Powell amb imatges de la vida rural als Cotswolds, els magnífics panells brodats per Margaret Macdonald, i una gran finestra de Frank Lloyd Wright. La gran majoria de les obres arriben d’institucions britàniques com el Victoria and Albert Museum, el Fitzwilliam Museum, la National Portrait Gallery, la Tate, la Whitworth Art Gallery, la William Morris Gallery o la William Morris Society, a més d’importants col·leccions particulars. Tanmateix, per explicar el relat de la difusió internacional del moviment, es mostren obres dels fons del propi Museu Nacional d’Art de Catalunya, del Museo Nacional de Artes Decorativas de Madrid y de Instituciones de Estados Unidos y d’altres països europeus, com el Museum für Kunst und Gewerbe d’Hamburg y el Museum of Finish Architecture de Hèlsinki. La mostra va acompanyada d’un catàleg, que compta amb dues edicions (català i castellà) i proporciona la possibilitat d’introduir-se en la figura i l’obra de William Morris i el moviment Arts and Crafts. William Morris (1834-1896) és una de les figures més rellevants de les arts, les lletres i la cultura britànica de finals del segle XIX. En vida, va ser conegut sobre tot com a escriptor, poeta, dissenyador i fundador de la companyia Morris, Marshall, Faulkner & Co. –a partir de 1875 anomenada Morris & Co.– dedicada a les arts decoratives i la decoració d’interiors. També és conegut per ser el fundador i líder indiscutible del moviment que avui dia coneixem pel nom, simple i compost a la vegada, d’Arts and Crafts –les arts i oficis tradicionals–. El moviment Arts and Crafts va sorgir al voltant de 1880 i es va convertir en el corrent dominant en l’artesania i el disseny britànics fins aproximadament 1914; malgrat la seva influència va persistir en algunes zones fins ben entrat el segle XX. L’ideari del moviment, basat en les propostes de William Morris sobre el procés de treball, el disseny i la vida en general, no va trigar a traspassar les fronteres de Gran Bretanya, i es va estendre per Europa, Estats Units i la resta del món. 4 William Morris i John Henry Dearle per a Morris & Co. Tapiz The Orchard (or The Seasons) [Els fruiters (o Les estacions)], 1890. Victoria and Albert Museum, Londres Al seu moment àlgid, entre 1890 i 1910, va ser considerada com el corrent estètic més influent i de major abast sorgit a Gran Bretanya a l’era moderna. Una nova generació d’arquitectes, dissenyadors, artistes i artesans –entre els quals podríem destacar Charles Robert Ashbee, Mackay Hugh Baillie Scott, Ernest William Gimson, William Richard Lethaby i Charles F. A. Voysey– van compartir la seva fe en el treball col·laboratiu i la germanor, a més d’una visió moral de la vida. L’ideari bàsic, comú a tots ells, va ser la defensa d’un estil de vida senzill i inspirat en la natura, que va donar lloc a la creació d’objectes domèstics caracteritzats per la seva qualitat, el seu caràcter funcional i el respecte a l’autenticitat de les tècniques i els materials utilitzats. Tal com el propi Morris va afirmar a “The Beauty of life”, la seva cèlebre conferència de 1880: “No tinguis res a casa teva que no sapigues que és útil o que no consideris bell”. William Morris, un home renaixentista Intel·ligent, enèrgic i amb una inesgotable capacitat d’aprendre oficis diversos, William Morris va ser un home renaixentista en una época, la victoriana, marcada pel gust decoratiu exagerat i dubtós, així com per la sensibilitat romàntica, l’embat de l’industrialisme i les esquerdes socials que aquest va produir i, finalment, per una renovada esplendor de l’artesania, a la qual Morris contribuiria decisivament. Morris va esmicolar la noció moderna de la vocació com a professió especialitzada: va ser dissenyador, artesà, empresari, poeta, novel·lista, assagista, traductor, bordador, teixidor, tintorer, il·lustrador, cal·lígraf, tipògraf, conferenciant, editor, impresor, defensor de la conservació d’edificis històrics, ecologista, agitador social i activista socialista. A més, com va dir Edward Coley Burne-Jones, “tot el que fa, ho fa de forma esplèndida”.. Influenciat pel seu mestre John Ruskin –a través de qui llegiria Karl Marx–, va defensar a ultrança el “plaer per la feina”, expressió que per a ell i per a Ruskin era sinònim d’art, i va donar forma artística i política al seu descontent amb els aspectes més foscos i injustos d’una época que va intentar canviar amb passió exemplar. A Ruskin i a Morris, en efecte, els movia el mateix disgust per la civilització occidental i per una època, la seva, que van anomernar “moderna”, un moment històric que consideraven menys perfecte que d’altres, donat que havia revertit l’ordre natural de les coses i que havia canviat el món per convertir-lo, en paraules de Ruskin, “de papallona a cuc”. 5 Morris va ser un dels primers a reclamar la restauració de l’antiga unitat, vigent durant l’edat mitjana, entre les arts i l’artesania, entre la bellesa pura de l’art i la bellesa accessòria, o utilitària, de l’ornament i l’eina. La casa bella L’ideal de bellesa afavorit per Morris i companyia ja no és objecte d’un judici estètic purament formal, ni l’encarnat en l’obra d’una individualitat genial exposada en un museu: és la Beautiful home, la casa preciosa, i és l’obra de l’artesà, resultat de l’ofici col·laboratiu que crea la comunitat, donat que ha estat realitzat ab initio per algú, des d’una tradició que ja al segle XX connecta, entre d’altres, amb els Tallers vienesos i la Bauhaus, i que va voler tornar a unir al disseny els dos àmbits de la producció d’artificis que havien estat separats per la tradició moderna: les belles arts i les arts decoratives, les art “majors” i les arts “menors”. Morris no és només una fita en la història particular del disseny i de les arts, sinó que amb la seva tasca i les seves idees va reorganitzar i reconfigurar autèntiques constel·lacions de principis ideològics i usos culturals que havien dominat de forma gairebé inalterada el món de les arts, almenys des del final del Renaixement. Per aquesta raó, l’exposició posa l’èmfasi en el caràcter contemporani de Morris i la vigència de les seves idees. William Morris per a Morris & Co. Fragment tèxtil Strawberry Thief [Lladre de maduixes], 1883. The Whitworth, The University of Manchester 6 ÀMBITS 1. Dels orígens a la Red House, 1830-1860 in- clou obres d’Augustus W. N. Pugin, John Ruskin i altres figures associades al ressorgiment del gòtic, així com dels membres de la germanor prerafaelita, Dante Gabriel Rossetti i Edward Burne-Jones. 2. William Morris i companyia, 1861-1896 es centra en els objectes que l’empresa Morris produïa i venia, amb especial atenció al procés artesanal de la seva fabricació, i també para atenció a la faceta de conservacionista i política William Morris. News from Nowhere [Notícies d’enlloc]. Hammersmith de Morris, i a la tasca de la seva editorial Kelmscott (Londres): Kelmscott Press, 1892. William Morris Society, Londres Press. 3. El moviment Arts & Crafts a Gran Bretanya, 1887-1914 revisa l’expansió del moviment a través d’obres de C.R. Ashbee, M.H. Bailllie Scott, Sidney Barnsley, Walter Crane, E. Gimson, W.R. Let- haby, Mary Macdonald, Charles Rennie Mackintosh, C.F.A. Voysey i Philip Webb, aixi com dels establiments Liberty i Heal’s. 4. La difusió internacional del moviment Arts & Crafts, 1890-1914, il·lustra les diferents connexions entre el moviment britànic i el seu desenvolupament a països d’Europa i Estats Units, amb peces de Hendrik Petrus Barlage, Josef Franz Maria Hoffmann, Koloman Moser, Lars Kinsarvik, Josep Puig i Cadafalch, Joan Burquets o Frank Lloyd Wright, entre d’altres.
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