Wallpaper and
textile .Wiliam morris .C.Voyses .Lucienne Day By; Muayed Mohammed
Introduction
My introduction at the beginning or my cotalogue Iwould like to bring up the subject of the wallpaper and textil.the reson for choosing this work was that were asked to select 3 artists whose work we will describe. all of my chosen artists combne one style and one epoch in which thy created there work.the second topic i would like to mention is carving colour,I want to look at this work in terms of colours and materials used for the wallpaper and textil. I chose in this catalogue the artists: william morris Désirée Lucienne Lisbeth Dulcie Day C.F.A. Voysey thay are on of my best artists . I chosed this patterns because it take me to my origin environment which predominantly with green and alot of colur by the palm trees that arund the rever and ore viliges. The writings of C.Voyses and William . Both struck a chord with readers; one that still resonates today, In their search for the Good Life. Although craftwork drew on traditional forms and techniques, the outlook was ‘progressive’ as this counter-culture envisaged a better quality of life for both makers and consumers. The simple and refined aesthetics of the Arts and Crafts ethos would create rational and beautiful homes leading to a harmonious society. In british, the watch words were simplicity, restraint and order. Can the minimalism of today, the desire for ‘fewer better things’, be traced to the Arts and Crafts movement. Charles Voysey (1857 – 1941) Charles Voysey was one of the Arts and Craft movement’s most successful architects, as well as producing some of its most striking designs for furniture and other interior elements, including wallpaper and textiles. Elegant and quietly expressive, Voysey’s work demonstrated the designer’s strong belief in ‘less is more’; (1) 1
(harvard referencing) Victoria and Albert Museum (30 Apr 2018) Trellis(online)[30/04/18] Avalibale at http://collections.vam.ac.uk/item/O78220/trellis-wallpaper-morris-william/. Victoria and Albert Museum (30 Apr 2018) Fruit (online){30/04/18}Avalibale at http://collections.vam.ac.uk/item/O250834/fruit-wallpaper-morris-william/. Victoria and Albert Museum (2018) Introducing William Morris (online) [30/04/18] Avalibale at https://www.vam.ac.uk/articles/introducing-william-morris#vam_nav. Victoria and Albert Museum (2018) William Morris Throughout the Museum (online)[30/4/18]Avalibale at https://www.vam.ac.uk/ collections/william-morris Copyright Š The C.F.A. Voysey Society (2011-2018) Biographical introduction(online) {30/4/18}Avalibale at https://www.voyseysociety.org/voysey/biography/introduction.html Victoria and Albert Museum(2018) Lucienne Day – an introduction(online) [30/4/18]Avalibale at https://www.vam.ac.uk/articles/lucienne-day-an-introduction Victoria and Albert Museum(2018) Lucienne Day work(Left to right: Dress fabric designed for the Festival of Britain, Lucienne Day, 1950. Museum no. AAD/2009/6/7. Provence, wallpaper, Lucienne Day, 1951, England. Museum) and (Sunrise, furnishing fabric, Lucienne Day, 1969, England )(online) [30/4/18] Avalibale at https://www.vam.ac.uk/articles/lucienne-day-an-introduction.
by :
Muayed Mohammed
his drawings for flat-surface design demonstrate the same restraint and interest in clear space that is evident in his furniture and other objects. Although Voysey wouldn’t have accepted it himself – as a British practitioner of Arts and Crafts design he would have had little enthusiasm for such an exuberant, ‘European’ style. luienne dey’s the reason why I chosed this artest becuse a Lucienne Day’s career in design spans 60 years and the freshness and originality of her work ensures that it is still relevant to contemporary interiors. and extended her very particular vision to carpets, wallpapers, tea towels and ceramics as well as textiles. With her husband Robin she pioneered the postwar revival of design and manufacture and extended the boundaries of modern design, enjoying international recognition. Her best known textile design ‘Calyx’ was launched at the Festival of Britain in 1951 and subsequently received the coveted International Design Award of the American Institute of Decorators.
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Other: .And from all these researches and artists and works to derive and learned from them many of the ideas and opinions and go in a certain style of ideas. And also free drawing. And the interest of ideas and simple drawings and also interest in archeology and the ancient dates covered by (drawings and symbols old). . I also want to talk about the colors you selected. It is one of my favorite alleles of natural colors such as nature, trees, vegetables and so on (green, brown, etc.) and I have chosen these colors because I belong to these colors of nature, greenery and trees, so I took care of these colors.
The ‘Trellis’ design was the first paper William Morris designed, Morris’s designs didn’t chime with fashionable taste, which in the 1860s generally favoured wallpapers in the super-naturalistic ‘French’ style. Enabled by sophisticated new printing techniques, this look was characterised by complex and unashamedly pretty designs that centred on exuberant flowers and the use of illusory effects such as trompe l’œil. Although Morris also focused on plants, his work was unprecedented because it celebrated the simple forms he saw in British gardens, fields and hedgerows rather than exotic, imported blooms.Hand-printed wallpaper decorated with a rose bush growing on a wooden trellis, with birds and insects. Morris was prompted to design his own wallpapers because he could not find any that he liked well enough to use in his own home. He designed ‘Trellis’ shortly after moving to the Red House. The gardens at the Red House were arranged in a Medieval style, with roses growing over trellises which enclosed the flowerbeds. This wallpaper pattern was inspired by these trellises.
discuss the endnote
.I would like to speak, explain and speed up the things I have learned from this research, including artists, works and drawings ... # First: Style: .I want to speak and to inform about the patterns that I have chosen in my own work. They are old patterns of technology and have facilitated the recognition of their forms, natural forms, shapes, shapes and decorative patterns. # second : .Artists: 1 / william morris: is an artist with wonderful abilities and great in the areas of design and drawing, the time I learned from many of the experiences of ideas and techniques and how to find the drawing and the idea of ​​simplicity in the corner .. Also learned from his biography (love work) and patience .. As he knew in his biography of self-fighting in the currency and its evolving capabilities .. .I want to explain the most important thing I learned from him is free drawing in the designs. Lucleme Days . Lucleme day is my favorite. I also like and admire her works and drawings in the textile and wallpapers. Time benefited and learned from its works and drawings the extent of simplicity of drawing and the importance of ancient drawings and archaeological stretching from the wars of the world. I appreciate the importance of archeology and the old drawings that add to the old world wars. # IV C F AVoyses: .I am impressed by this artist (C FA Voyses), a close friend of William Morris friends and admirers, and the most illustrious artist of William Morris . He is also an artist and master in how to combine graphics with each other. Also .
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‘Fruit’ (or ‘Pomegranate’) wallpaper pattern, branches of fruit trees bearing fruit, including limes and pomegranates; Block-printed in distemper colours, on paper; Designed by William Morris.Possibly the second paper designed by Morris to be issued. The serial numbering in the printing log places it between Daisy and Trellis. cites Mackail’s notes that suggest that the design was made ‘no earlier than 1865’. Design for ‘Fruit’ (or ‘Pomegranate’) Wallpaper.he is used the Pencil, pen and ink, watercolour and body colour.
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Charles Francis Annesley Voysey
Charles Francis Annesley Voysey (commonly referred to as C.F.A. Voysey)Born in28 May 1857 to 12 February 1941, was an English architect and furniture and textile designer. Voysey’s early work was as a designer of wallpapers, fabrics and furnishings in a simple Arts and Crafts style, but he is renowned as the architect of several country houses. Charles Francis Annesley Voysey. His work was unique, modest and memorable, and he was not simply an architect who produced wonderful houses but a designer of furniture, domestic fittings and ironmongery, of flamboyant wallpaper, fabrics and exquisite graphic items. His buildings, principally some fifty substantial houses for individual clients, based on unspecified vernacular traditions, were distinctive, simple, and elegant. Voysey’s work, and the philosophy behind it, was well publicised at the time by his own writings, including Individuality which he published in 1915, in The Studio magazine, and in Dekorative Kunst in Germany, which gave him an international reputation. In today’s world he would undoubtedly have been branded a celebrity. His simplicity of design caused him to be labelled as a forerunner of the Modern Movement in architecture, a concept which he strongly rejected. Although he had affinities with the work of William Morris, Ballie Scott, Mackmurdo and even Mackintosh, Voysey remained an individual and rejected membership of any particular group and also the socialism of Morris. Voysey was initially educated at home but then attended Dulwich College, where he did not shine. He was articled to the architect J.P. Seddon in 1874, then assisted Henry Saxon Snell, followed by George Devey, a prominent country house architect and also supporter of the Theistic church. As Devey’s workload decreased, in 1881 Voysey opened his own office and started experimenting with domestic designs. He was encouraged by A.H. Mackmurdo to supplement his income by designing wallpaper and fabrics, and became very successful at this. His success as an architect was finally marked in 1891 by the construction of the tower house at 14 South Parade in Bedford Park. Voysey rejected stylistic revival, basing his designs and use of materials close to the Arts and Crafts vernacular, yet distinctive and instantly recognizable as his work. He married Mary Maria Evans in 1885 and eventually built their own family home, The Orchard at Chorleywood, in 1900. His practice flourished, and for twenty years he became one of the most sought after architects for progressive middle class clients in England, but a combination of fashion and his uncompromising attitude may have lost him commissions and the work had dried up by the first world war, although he continued with furniture, wallpaper and competition designs. His income became so reduced that his son took him to live in Winchester. Despite his early success he did not receive recognition from the establishment until an exhibition of his work in 1931, the Royal Society of Arts award of ‘Designer for Industry’ in 1936, and finally the RIBA Gold Medal in 1940, only a year before his death. He was one of the first people to understand and appreciate the significance of industrial design. He has been considered one of the pioneers of Modern Architecture, a notion which he rejected. His English domestic architecture draws heavily on vernacular rather than academic tradition, influenced by the ideas of Herbert Tudor Buckland (1869–1951) and Augustus Pugin (1812–1852). Voysey’s designs in the field of applied art included furniture, wallpapers, fabrics, carpets, tiles, metalwork, ceramics and graphic design. Sometimes he designed artefacts specially for his own buildings, and sometimes he sold designs to manufacturers for wider use. Voysey’s development as a furniture designer corresponded to his development as an architect, and by c.1895 he had evolved a definitive personal style. His furniture conformed, with a few exceptions, to this style until 1910, when he began to introduce greater elaboration, including Gothic motifs, into his designs. The simple elegance of Voysey’s furniture from the per
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Left to right: Dress fabric designed for the Festival of Britain, Lucienne Day, 1950/ Provence, wallpaper, Lucienne Day, 1951, England In 1951 the perfect opportunity arose for Day to work outside of the constraints of a straightforward commercial commission. Her husband Robin had already secured the commission to design all the seating for the Royal Festival Hall, the newly-built auditorium and concert hall constructed on London’s South Bank as part of the Festival of Britain – a major exhibition intended to showcase Britain and its achievements. He also designed room settings for the Festival’s Homes and Gardens Pavilion, which showcased his own contemporary furniture.
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Désirée Lucienne Lisbeth Dulcie Day
Born in (née Conradi; 5 January 1917 to 30 January 2010) was one of the most influential British textile designers of the 1950s and 1960s. Day drew on inspiration from other arts to develop a new style of abstract pattern-making in post-war British textiles, known as (Contemporary) design. She was also active in other fields, such as wallpapers, ceramics and carpets.Of all the talented women textile designers of post-war Britain, Lucienne Day’s influence is the most far-reaching. Graduating from the Printed Textiles department of the Royal College of Art in 1940, the effects of the Second World War initially limited the prospects of design work, and Lucienne Day supplemented her design career with teaching roles. However, as the restrictions of the war began to lift, she quickly built on her relationships with existing manufacturing clients to produce modern furnishing textile designs. A receptive audience was waiting, ready for a breath of fresh air after the visual bleakness of the war years. Along with her husband, furniture-designer Robin Day, she promoted modern living and embodied the image of the newly styled professional designer. This deferred launch of Lucienne Day’s career coincided with a major governmental initiative to boost the nation’s industrial production by elevating the status, training and consequently the output of British designers. Both Lucienne and Robin fulfilled the brief perfectly: ambitious, highly talented and with a committed vision of the life-changing potential design could bring. By the end of the 1940s Lucienne Day had found work with Edinburgh Weavers, Cavendish Textiles (the John Lewis house brand) and Heals. Lucienne Day’s career in design spans (six hundred) years and the freshness and originality of her work ensures that it is still relevant to contemporary interiors. A versatile and influential designer, Lucienne was commissioned by a wide range of companies and extended her very particular vision to carpets, wallpapers, tea towels and ceramics as well as textiles. With her husband Robin she pioneered the post-war revival of design and manufacture and extended the boundaries of modern design, enjoying international recognition. Her best known textile design (Calyx) was launched at the Festival of Britain in 1951 and subsequently received the coveted International Design Award of the American Institute of Decorators. Lucienne herself has selected the (twelve) designs which she feels are the strongest most appropriate for revival.
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Sunrise, furnishing fabric, Lucienne Day, 1969 Though Lucienne Day is best-known for her patterns for furnishing fabrics, she also produced designs for many other applications. Dress fabrics were an important part of her design practice in the early postwar period. With companies such as Cole & Son, Crown, and German company Rasch, she collaborated to produce several successful collections of wallpapers. Diabolo was one of three wallpapers launched at the Festival of Britain in 1951. During the 1950s and 60s she produced a substantial body of carpet designs for Tomkinson’s Carpets and Wilton Royal, including Tesserae which won a Design Centre Award in 1957. Some of her most loved designs were for a series of tea towels for the Irish linen company Thomas Somerset, which include Too Many Cooks, Bouquet Garni and Black Leaf (all 1959), which was also recognised by a Design Centre Award in 1960. During these productive decades of her career, Day also collaborated with the prestigious German manufacturer Rosenthal, creating elegant designs for their china tableware, such as the Four Seasons series.
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William morris
Born in 24 March 1834 to 3 October 1896 . was an English textile designer, poet, novelist, translator, and socialist activist. Born to an upper-middle class family in Walthamstow, in (London), Morris’ eccentricity was apparent very early on, earning him the nickname of (crab) while studying at boarding school. As in later life, the young Morris was inspired by visiting pre-historic sites and admiring the architecture and artwork of medieval churches. Setting up the decorative arts company Morris, Marshall, Faulkner & Co in 1861, Morris studied and re-introduced traditional methods of dyeing and hand printing textiles while also selling tiles, stained glass, furniture and home furnishing to the growing. After school, Morris went to Oxford University to study for the Church. It was there that he met Edward Burne-Jones, who was to become one of the era’s most famous painters, and Morris’s life-long friend. BurneJones introduced him to a group of students who became known as ‘The Set’ or (The Brotherhood), and who enjoyed romantic stories of medieval chivalry and self-sacrifice. They also read books by contemporary reformers such as John Ruskin, Charles Kingsley and Thomas Carlyle. Belonging to this group gave Morris an awareness of the deep divisions in contemporary society, and sparked his interest in trying to create an alternative to the dehumanising industrial systems that produced poor-quality, {unnatural} objects.
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