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12 de may. de 2022 · An unconventional Victorian marriage: at home with Jane and William Morris. William Morris wrote: 'The true secret of happiness lies in taking a genuine interest in all the details of daily life.'. As a designer, poet and activist, Morris was a towering figure in the Victorian art world. His homes became showcases for art and gathering places ...
12 de abr. de 2021 · Overwhelmed by her unconventional beauty, the two men begged for the opportunity to have this new goddess sit for them. Destiny would change Jane’s life forever. This is the only completed easel painting that William Morris produced. It is a portrait in a medieval dress of Jane Burden, whom Morris married in April 1859.
24 de mar. de 2023 · Born in 1834 in Walthamstow, London, William Morris was a leading figure in the Arts and Crafts Movement, a man of many talents: a poet, writer, textile designer and social activist. In 1861 he founded ‘Morris, Marshall, Faulkner & Co.’ (later known as Morris & Co). His textile designs are considered to be some of his most influential work ...
18 de nov. de 2014 · Jane Morris was ‘the silentest woman I have ever known’, according to George Bernard Shaw, but in recent years we have been able to hear her voice more clearly. In 2012 her Collected Letters were published, after a decade of research and editing by Jan Marsh and Frank C. Sharp.
Jane Morris (née Burden) In 1857, Burden was spotted by artists Dante Gabriel Rossetti and Edward Burne-Jones in Oxford, and was sought by them as a model. She sat initially for Rossetti and then for William Morris. The two became engaged and married in 1859. Burden was privately educated and recreated herself from the daughter of a stablehand ...
In the 1870s Rossetti and Jane Morris, the wife of his friend William Morris, became involved emotionally and are believed to have had an extended affair. In 1871 the two families jointly rented Kelmscott Manor, near Oxford, and Rossetti lived there between 1872 and 1874.
26 de nov. de 2019 · This article furthers this exploration by examining Jane Morris’ engagement with the book arts. Through an analysis of the textual, visual and material qualities of four keepsake volumes Morris made c. 1880, this article considers how the books illuminate Morris’ material reality and emphasize their maker’s commitment to socialist ideals, artistic labour, and collaborative working.
