This volume re-evaluates the position of William Morris regarding contemporary perspectives on his artistic and political endeavours. Special emphasis is placed on the concepts and territories that lie in-between, both literally and metaphorically. This “in-between-ess” is the most remarkable quality of Morris, and secures him a unique position among his contemporaries, as well as inspiring new generations of scholars. Paradoxically, however, this aspect also contributes to a certain marginalization of Morris in studies devoted to “Eminent Victorians”. Instead of speaking of ruptures, gaps or lacunas, the point of view adopted here explores the undefined terrenes situated between art and politics, viewing them as vantage points and departure planes which cement Morris’s universe. At the same time, the book also argues that this universe has always existed in its specific shape and form, while the “poetic upholster”, as Morris was ironically labelled, only discovered and explored different points on the map of a space that could have no limits and boundaries. The book offers new insights and avenues to supplement existing scholarship on Morris, including spatiotemporal aspects of his work and the relationship between art and politics.

Dive into the 27-page classic "Art Under Plutocracy" by William Morris, a thought-provoking exploration of art's role and challenges in a society dominated by wealth. Written in the 1890s, Morris delves into the intersection of art, society, and economics. His insights and critiques remain relevant, making this a must-read for art enthusiasts and historians alike.

Drawn from Birmingham Museums Trust's incomparable collection of Victorian art and design, this exhibition will explore how three generations of young, rebellious artists and designers, such as Edward Burne-Jones, John Everett Millais, and Dante Gabriel Rossetti, revolutionized the visual arts in Britain, engaging with and challenging the new industrial world around them.

Romanticism is multifaceted, and a wide range of nostalgic, emotional, and exotic concerns were expressed in such styles and movements as the Gothic Revival, Classical Revival, Orientalism, and the Pre-Raphaelite Brotherhood. Some movements were regional and subject-specific, such as the Hudson River School of landscape painting in the United States and the German Nazarene movement, which focused primarily on religious art in Rome. The movements range across Western Europe and include the United States. This dictionary will provide a fuller historical context for Romanticism and enable the reader to identify major trends and explore artists of the period. This second edition of Historical Dictionary of Romantic Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on major artists of the romantic era as well as entries on related art movements, styles, aesthetic philosophies, and philosophers. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic art.

In this book, Bradley Macdonald offers a brilliant reappraisal of one of the most influential and revered British intellectuals of the Victorian age. William Morris was, by turns, an artist, writer, social critic, and political radical. Here, Macdonald focuses on the interplay between Morris' aesthetic vision and his socialist ideology. He argues compellingly that, because these two sides of Morris' personality have generally been examined by art or literary historians and social theorists respectively, their integral relationship has often been lost sight of.