William Morris - Art for the People

In contrast to the Intellectuals and the Masses book I have been reading some of William Morris's essays on how he believed that only valuable art could come from people and that it shouldn't exclude but include everyone to be considered good. This has been a notable addition to my research on the value of the working-classes in higher-class cultures as it shows that there has been attempts within the reformation period of trying to make art accessible to everyone. 
Some quotes from the book 

The Workers Share of the Art

‘What, however, is art? Whence  does it spring? art is man's embodied expression of interest in the life of man; it Springs from man's pleasure in his life; pleasure we must call it, taking all human life together, however much it may be broken by the grief and trouble of individuals; and as it is the expression of pleasure in life generally, in the memory of the deeds of the past and the hope of those of future, so it is especially the expression of mum's pleasure in the deeds of the present; in his work .’

Yet I repeat that the chief source of art is man's pleasure in his daily necessary work which expresses itself and is embodied in that work itself; nothing else can make the common surroundings of life beautiful and whenever they are beautiful it is a sign that men's work has pleasure in it however they may suffer otherwise.’

‘Nor must we forget that whatever is produced that is worth anything is the work of the men who are in rebellion against the corrupt society of today – rebellion sometimes open, sometimes veiled under cynicism, but by which in any case lives are wasted in a struggle, too often vain, against their fellow men, which ought to be used for the exercise of the special gifts for the benefit of the world.’

‘In any case, the leisure which Socialism above all things aims at obtaining for the worker is also the very thing that breeds desire – desire for beauty, for knowledge, for more abundant life, in short.’

‘I do not believe in the possibility of keeping art vigorously alive by the action, however energetic, of a few groups of specially gifted men and their small circle of admirers amidst a general public incapable of understanding and enjoying their work.’