Between environmental utopia and an unhealthy industrial environment: William Morris’s arsenical wallpaper (notice n° 223084)

détails MARC
000 -LEADER
fixed length control field 01420cam a2200157 4500500
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250112060532.0
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title fre
042 ## - AUTHENTICATION CODE
Authentication code dc
100 10 - MAIN ENTRY--PERSONAL NAME
Personal name Bonney, Amélie
Relator term author
245 00 - TITLE STATEMENT
Title Between environmental utopia and an unhealthy industrial environment: William Morris’s arsenical wallpaper
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Date of publication, distribution, etc. 2020.<br/>
500 ## - GENERAL NOTE
General note 32
520 ## - SUMMARY, ETC.
Summary, etc. In 1861, the utopian artist William Morris started to produce block-printed wallpapers to defend the Pre-Raphaelite ideals of pre-industrial artisanal production. Often celebrated as a pioneer of environmentalism and hailed by E.P. Thompson as a prominent socialist thinker, Morris was however also a shareholder and member of the board of directors of the copper mine Devon Great Consols, which produced arsenic as a by-product. This article explores the divergence between Morris’s critique of environmental pollution and his use of toxic arsenical pigments in his workshops between 1864 and 1872. Placing Morris’s ideas within the broader context of contemporary debates on the toxicity of arsenic and on the causes of disease, it explains how environmental risks tied to the production of these wallpapers could be minimized by Morris and his peers, while also redefining Morris’s environmentalism.
786 0# - DATA SOURCE ENTRY
Note Romantisme | o 189 | 3 | 2020-08-11 | p. 85-95 | 0048-8593
856 41 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier <a href="https://shs.cairn.info/journal-romantisme-2020-3-page-85?lang=en">https://shs.cairn.info/journal-romantisme-2020-3-page-85?lang=en</a>

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