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A tapestry of Marilyn Monroe by Andy Warhol is on display to the public for the first time in the UK as part of "Love Is Enough," an exhibition exploring the similarities between William Morris and Andy Warhol curated by Turner Prize-winning artist Jeremy Deller; at Modern Art Oxford from December 6th until 8th March 2015.

The work was presented by Charles Slatkin Galleries in 1968 as part of the "American Tapestries" exhibition, in which the gallery invited a group of contemporary artists to submit designs for tapestries. Warhol gave this Marilyn design, which was hand woven into a woolen tapestry for the exhibition.

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When he became Prime Minister in 1997 – when he was still young, fresh-faced and even idealistic – Tony Blair named William Morris as one of his three political heroes. The choice was admirable enough, though one wonders if Blair had read Morris’s utopian novel from 1890, News from Nowhere. For, in it, England is a communistic paradise, where central government has become redundant and the Houses of Parliament been converted into an outhouse, piled high with manure.

In Blair’s defence, his Victorian guru was so prolific in so many fields, it’s near-impossible to keep track of all he did. Morris is perhaps best known nowadays for his densely-patterned, curly-leaf wallpaper, so popular in middle class homes in the Seventies.

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Works by two world-famous artists will go on display in Birmingham next year.

A selection of rarely seen artworks by Andy Warhol and William Morris, who both pioneered a style of art that helped define the centuries in which they lived, will be coming to Birmingham Museum and Art Gallery between April and June 2015.

‘Love is Enough’ will bring together works from public and private collections across the UK and USA to show in Birmingham after exhibiting at Modern Art Oxford in December.

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In 1855, Edward Burne-Jones and William Morris, student friends at Oxford, decided to abandon their theological studies and become artists. They turned for guidance to Dante Gabriel Rossetti, a leader of the recently disbanded Pre-Raphaelite Brotherhood (1848-1853), a group that galvanized British painting by rejecting academic convention and sought to emulate the vividness and sincerity of art from before the time of Raphael.

The creative dialogue between Burne-Jones, Morris, and Rossetti was remarkable for its intensity, productivity, and duration, and stimulated fresh goals and styles that defined the second wave of Pre-Raphaelite art, in the key decades from the 1860s through the 1890s.

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