Livable Exoticism: William Morris and Islamic Art

The term "livable exoticism" refers to the adaptation of pre-industrialized, non-western pattern and motif into a western decorative and aesthetic framework, making exotic references suitable for western consumption and incorporation within the home. British designer William Morris (1834-1896) blended historicizing elements of English medieval art and indigenous imagery with Islamic pattern and motifs, creating a modern and innovative expression of British cosmopolitanism in the nineteenth century. Morris's version of livable exoticism developed a new body of decorative art representative of the British Empire's participation in global exchange and modes of imperialism within the Islamic world. By actively incorporating elements of Islamic art into his designs rather than merely copying established forms, Morris effectively moved beyond the traditional Orientalist treatment of Islamic culture, sympathetically bridging the gap between seemingly polarizing consumer desires for designs at once reassuringly familiar and excitingly foreign.;Given Morris's importance within the Arts and Crafts Movement, surprisingly little scholarly research has been conducted on the impact of Morris's interest in Islamic art on his designs. Following an introductory survey of Orientalism and reception of Islamic culture in nineteenth century Great Britain, this thesis examines various examples of Islamic influence in William Morris's wallpaper, textiles, and carpet designs. Contextualization of this development will be provided through an overview of the network of individuals and institutions that fostered and facilitated Morris's interest in Islamic art over the course of his career. Finally, broader applications of livable exoticism are explored in material produced for Morris and Company after the designer's death, as well as in the development of various regional American Arts and Crafts aesthetics.