rose wallpaper: Rose Pattern Wallpaper

Tuesday 23 July 2013

Rose Pattern Wallpaper

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Rose Pattern Wallpaper Biography

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Morris's name and reputation are indissolubly linked to wallpaper design, but there is a tendency to over-estimate the influence he had in this field, at least in his own lifetime. In fact, despite his much repeated belief in 'art for all', his wallpapers, like most of the products of Morris & Co., were hand-made and expensive, and consequently had a relatively limited take-up. His papers were slow to find a market beyond fellow artists, and were positively disliked by some influential figures, such as Oscar Wilde. However, he has had a long-lived effect on wallpaper design and consumption, creating designs which have enjoyed lasting appeal.
Morris's first wallpaper design was Trellis, a pattern suggested by the rose-trellis in the garden of his house in Bexlevheath, Kent. Designed in 1862, it was not issued until 1864, a delay that was due to Morris's unsuccessful experiments with printing from zinc plates. The first pattern to be issued, in 1864, was Daisy, a simple design of naively drawn meadow flowers. The source was a wallhanging illustrated in a 15th-century version of Froissart's Chronicles, but similar flower forms can be seen in late medieval 'mille-fleurs' tapestries and in early printed herbals. These two designs, and the next pattern Fruit (also known as Pomegranate), share a medieval character that links Morris's early work in the decorative arts with the Pre-Raphaelite painters, and with Ruskin. However, they are also influenced by Morris's abiding interest in naturalism in ornament. Lecturing on pattern in 1881, he claimed, 'any decoration is futile ... when it does not remind you of something beyond itself'.
His sources were plants themselves, observed in his gardens or on country walks, and also images of plants in 16th-century woodcuts (he owned copies of several 16th- and 17th-century herbals, including Gerard's famous Herball), illuminated manuscripts, tapes-tries and other textiles incorporating floral imagery. His designs were not to be literal transcriptions of natural forms but subtle stylised evocations. In The Lesser Arts he wrote:
'Is it not better to be reminded however simply of the close vine trellises which keep out the sun ... or of the many-flowered meadows of Picardy ... than having to count day after day a few sham-real houghs and flowers, casting sham-real shadows on your walls, with little hint of any-thing beyond Covent Garden in them?'
Although he advised those designing wallpapers to 'accept their mechanical nature frankly, to avoid falling into the trap of trying to make your paper look as if it were painted by hand', he also encouraged intricacy and elaboration so that the repeat itself was disguised