William Morris 1865 - 1951

Curator: Immediately, I notice the stark contrast of the black ink on the white paper – a real focus on line work here. Editor: This is Henrik Bornemann's print of William Morris, dating from between 1865 and 1951, housed right here at the SMK. It presents Morris in profile. Curator: Profile, yes, quite formal, but the somewhat frenetic linework softens it. It reminds me a bit of an engraving, meticulous yet clearly hand-done. I imagine the physical process of carving those lines must have been incredibly time-consuming. Editor: Absolutely. Think about the context – this is the Arts and Crafts Movement we’re talking about, with its commitment to handmade production, standing against the rise of industrialization. This graphic-art serves not only as a portrait but almost a political statement, rejecting mass-produced imagery. Curator: The materials really underline that point: handmade paper and meticulously applied ink. It's almost like a tactile rebellion against factory goods. The small sprigs that frame it, a celebration of nature. Editor: And this print enters the public sphere through the museum—the means by which Bornemann's image gains continued traction. The image becomes more than a picture of William Morris himself but an icon—think of all the ways Morris’s image has been used to signal 'authentic' or 'hand-crafted'. Curator: True, the reproduction also affects how people consume images of craftsmen and artists. Consider how this circulated during Morris's time as opposed to its context today, housed in this institution. Editor: This print presents questions of craftsmanship, mass production, value and reception within and outside of the arts movement—I can spend quite some time investigating such. Curator: For me, it speaks to a slower kind of artmaking, a more considered way of working, the maker embedded in every line and impression. A very powerful graphic piece.