talwin morris's glasgow japonisme
he instructs us on the importance of design, insisting upon the sensuous beauty implied within the studies of home, and horse, wordlessly, but with just one look.
carpenters are revealed as the noble artists that they truly are by symbol alone.
and morris, sometimes, simply creates an added beauty to the already beautiful.
With [the Japanese style's] absence of central perspective, along with the expressive linear lines or organic form, the style itself is ideal to apply to a flat surface of book design. Within the composition there can also be cutting of details within the composition and instead of the perspective moving into the the picture space there was a tendency to move up the picture space. These stylistic characteristics can create a flat decorative effect.
Along with these stylistic characteristics, there was another Japanese influence. In Western Society, the Hierarchy of Genres shows that History painting is the highest of all art forms. This however was different in Japan which placed significant importance upon items such as laquerware and porcelain. These objects would have been of lower importance to the West before this time. These objects then became very important and can be seen in the way in which Blackie and Sons [a publisher with whom morris worked] placed artistic emphasis upon the book cover, which had previously been of little importance.1