Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2193088
Sheilagh Quaile
Welcome to The Cloth that Changed the World: India’s Painted and Printed Cottons. My name is Sarah Fee and I am the Royal Ontario Museum’s Curator for the Textile Arts of Africa and Asia. The objects in this exhibition are highlights from the ROM’s renowned collection of Indian painted and printed cottons. Most pieces have not been displayed since the 1970s. The show also includes twelve objects borrowed from international collections, and never before exhibited in Canada.
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Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2113754
K. Brosens
By conceptualising and analysing the privileges awarded to Brussels tapestry actors in the seventeenth century as serial data, and thus as a — consistently inconsistent — system, and by combining quantitative and qualitative readings of the data, this essay refines our understanding of the mechanics of Brussels baroque tapestry. One of the most salient insights is the marginal position of painters within the privilege system, showing that producers — and therefore patrons — identified ‘Brussels tapestry’ with quality of materials and weft rather than with a specific pictorial style. Ensuring quality, however, was complex, as it was dependent on the varying agendas of different stakeholders. The essay shows how they constantly adapted the privilege system to navigate and mitigate not only these issues, but also contextual factors that impacted the Brussels art worlds. Thus, the essay can also serve as a backdrop against which future studies of Brussels baroque art can be placed.
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Pub Date : 2022-01-02DOI: 10.1080/00404969.2022.2193084
C. Kerfant
ground-breaking work is presented in two final chapters that cover cloth made in various weaving centres in the Burman heartland and textiles from the periphery made for the Burman market. These chapters comprise the region-by-region documentation of Myanmar’s village textile production that has heretofore been lacking. They are clearly the result of painstaking field research carried out over multiple journeys to places rarely visited by outsiders. While much of the cloth might be considered aesthetically mundane, the best of it shows sophisticated, subtle beauty, as in many colonial-era silk longyi (unisex tube skirts) with Europeaninspired block patterns in supplementaryweft ‘overshot’ weave. The most complexly patterned of these were produced in Rakhine State (fig. 11.10), while those from the Inle Lake region were often enlivened with the pou-jwe technique— the twisting together of two yarns of contrasting colours to produce a watered or moir e effect in the finished cloth (fig. 11.19). The book is well organised, nicely produced and copiously illustrated, while Fraser-Lu’s clear and thoughtful prose is appropriate for general audiences and specialists alike. Because the material is based primarily on historical and field research, there are fewer full-page studio photographs of exemplary textiles (especially in comparison to a museum catalogue or collection-based coffee-table volume). An impressive bibliography vouches for the breadth of the research and an extensive glossary helps with the many Burmese terms that are unfamiliar to most of us. Unfortunately, many equally unfamiliar place names cannot always be found on the maps provided. Sylvia Fraser-Lu is to be congratulated for bringing the wealth of Myanmar’s handwoven textiles to greater attention. At last, a standard reference work on Burman cloth has taken its rightful place in the literature on South-East Asian textiles. Fittingly, the Textile Society of America has given the book its R. L. Shep Award, judging it the best book of the year in the field of ethnographic textile studies.
开创性的工作在最后两章中介绍，涵盖了缅甸腹地各个编织中心制作的布料和来自缅甸市场外围的纺织品。这些章节包含了迄今为止所缺乏的缅甸村庄纺织品生产的逐地区文件。它们显然是经过艰苦的实地调查，多次前往外人很少踏足的地方。虽然很多布料可能被认为是审美上的俗套，但其中最好的部分却展现了精致、微妙的美，比如许多殖民时期的丝绸龙衣(男女皆宜的筒裙)，在辅助纬纱“过冲”编织中采用了欧洲风格的块状图案。其中最复杂的图案是在若开邦生产的(图11.10)，而来自茵莱湖地区的织物则经常使用poujwe技术-将两种颜色对比的纱线捻在一起，在成品布上产生水或波纹效果(图11.19)。这本书组织有序，制作精美，插图丰富，而弗雷泽-卢清晰而深思熟虑的散文适合普通读者和专家。由于材料主要基于历史和实地研究，因此很少有整页的典型纺织品的工作室照片(特别是与博物馆目录或基于收藏的咖啡桌卷相比)。令人印象深刻的参考书目证明了研究的广度，广泛的词汇表帮助我们了解许多不熟悉的缅甸术语。不幸的是，许多同样陌生的地名并不总是能在提供的地图上找到。我们应该祝贺西尔维娅·弗雷泽-卢(Sylvia Fraser-Lu)，她让缅甸手织纺织品的财富得到了更大的关注。最后，一本关于缅甸布的标准参考书在有关东南亚纺织品的文献中占据了应有的地位。美国纺织协会(Textile Society of America)恰如其分地授予这本书r·l·谢普奖(R. L. Shep Award)，认为它是纺织人种学研究领域的年度最佳书籍。
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1948194
L. Miller
biographical essays written by Glenn Adamson, senior scholar at the Yale Center for British Art. In ‘Waiting like a Fern’, he reviews Tawney’s student years from 1945 to 1960; ‘Back to the Source’ describes Tawney’s sculptural work from 1961 to 1970; in ‘Seeker’, he discusses her works of 1970 to 1980; and in ‘Sage’, her late works of 1980 to 2007. Many of the documents, correspondence, journals, books, sketches and photographs are, like the artist herself, rather elusive and non-chronological, and so evade conventional systems of organisation and process. For example, in a bound sketchbook dating from 1984–1989, a work in watercolour, collage and ink moves around the page as a spiral of text. Lenore Tawney reflected, ‘Water is still like a mirror ... mind being in repose becomes the mirror of the universe’. Adamson pulls the reader into Tawney’s universe by closely examining how her life and work was composed in rhythms, moving backwards and forwards in time and place, expanding and contracting as in a musical sequence or the flow of water. Non-linearity also features in Adamson’s organisation of Tawney’s biography: rather than straightforward narrative, it echoes Tawney’s non-linear textile structures, and is particularly effective in cross-referencing earlier periods and challenges that Tawney encountered in her long working life. Many anecdotes can be enjoyed from Adamson’s entries, such as Tawney reinventing herself throughout her life, moving from Chicago to New York City in 1957 when she was fifty, though she claimed to be much younger. She was born in 1907, yet she claimed it was 1925. That no one noticed is interesting, since Tawney thought that fifty was a bit late to get started on an artistic career, especially for a woman. The installations and photographs are often accompanied by extracts from Tawney’s journals, which are both poetic and analytical. ‘To be an artist’, she wrote in 1992, ‘you must be brave. You can’t let yourself be scared by a blank sheet of drawing paper or a white canvas. But what you put on that paper must come from your deepest self’ (p 280). Additional support, advice and research was provided by Kathleen Nugent Mangan, executive director of the Lenore G. Tawney Foundation in New York, whose knowledge of Tawney’s work and friendship over forty years gives many personal insights in her foreword and afterword. In April 2020, Lenore Tawney: Mirror of the Universe was recognised by the Art Libraries Society of North America (ARLIS/NA) for excellence in art publishing.
由耶鲁大学英国艺术中心资深学者格伦·亚当森撰写的传记文章。在《像蕨类植物一样等待》中，他回顾了托妮从1945年到1960年的学生时代;“回到源头”展示了托尼从1961年到1970年的雕塑作品;在《探索者》中，他讨论了她1970年至1980年的作品;以及她1980年至2007年的晚期作品《Sage》。许多文件、信件、日记、书籍、草图和照片，就像艺术家本人一样，相当难以捉摸，而且没有时间顺序，因此逃避了传统的组织和流程体系。例如，在一本1984-1989年装订的速写本中，一幅用水彩、拼贴和墨水制作的作品在页面上像螺旋形的文字一样移动。Lenore Tawney反思道:“水仍然像一面镜子……心灵在休息中成为宇宙的镜子。”亚当森通过仔细研究托妮的生活和工作是如何在节奏中组成的，如何在时间和地点中前后移动，如何像音乐序列或水流一样扩张和收缩，将读者带入托妮的世界。非线性也体现在亚当森对托妮传记的组织中:它不是直截了当的叙述，而是与托妮的非线性纺织结构相呼应，并且在交叉引用托妮在漫长的工作生涯中遇到的早期时期和挑战时特别有效。从亚当森的条目中可以欣赏到许多轶事，比如托妮在她的一生中重塑了自己，1957年她50岁时从芝加哥搬到了纽约，尽管她声称自己要年轻得多。她出生于1907年，但她自称是1925年。有趣的是，没有人注意到这一点，因为托妮认为50岁开始艺术生涯有点晚了，尤其是对一个女人来说。这些装置和照片经常伴随着从托尼的日记中摘录的内容，这些内容既富有诗意又具有分析性。1992年，她写道:“要成为一名艺术家，你必须勇敢。你不能让自己被一张空白的画纸或一块白色的画布吓到。但是你写在纸上的东西必须来自你最深处的自我。纽约Lenore G. Tawney基金会的执行董事Kathleen Nugent Mangan提供了额外的支持、建议和研究，她对Tawney四十多年来的工作和友谊的了解在她的前言和后记中提供了许多个人见解。2020年4月，Lenore Tawney: the Mirror of the Universe获得北美艺术图书馆协会(ARLIS/NA)的认可，以表彰其在艺术出版方面的卓越表现。
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1947592
C. Molenaar
ancien r egime French court dress, for example, also blurred the boundaries of artifice in fashion and organic nature. Furthermore, larger displays such as the Victoria and Albert Museum’s ‘Fashioned from Nature’ (April 2018–January 2019) have shown the importance of understanding the involvement of the natural world in the process of making fashionable items such as textiles and cosmetics, from the early modern period up to the present day. There are plans to restage this exhibition on loan at a future date for those who wish to see it in person. Yet it is encouraging to note that this entertaining and thought-provoking resource will remain online indefinitely, making it available to many who would not otherwise have been able to view the exhibition.
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2014768
L. Abrams, L. Gardner
Knowledge of the economy and culture of knitted textiles in Scotland since the late eighteenth century is framed by opposing paradigms. The study of craft regards knitting as a traditional practice and focuses on the techniques and designs of the hand knitter. The industrial paradigm, on the other hand, is dominated by studies of factory production that subordinate hand knitting as an outmoded and non-economic practice superseded by mechanisation. This article analyses the production of knitwear in post-war Shetland to demonstrate how the bipolarity of that frame needs to be modified to highlight the manifest interconnectedness and mutual dependence of the two parts of the sector. It also challenges interpretations which assume craft production is automatically superseded by machine production. Knitting has maintained a dual identity as a hand craft and an industrial process since the mid-nineteenth century and thus provides a case study for bridging these disconnected histories.
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2007671
M. Kargól
Westchester County, New York. Wells takes issue with the shift from tapestry to textile or fibre art as a feminist art form, suggesting that previous feminist scholars, such as Rozsika Parker, deliberately overlooked tapestries from the post-war period in favour of promoting traditionally domestic crafts, such as embroidery. For Parker, the subject of embroidery offered greater analysis of domestic life, whereas tapestry was considered a public art and less likely to form part of a feminist critique. But the complexity of why feminist practitioners intervened in this history is not fully addressed and other scholars needed referencing at this point. There is a passing citation to the work of Magdalena Abakanowicz (p. 217) but Western tapestry has nothing in common with the ‘loom thinking’ (working fibre directly on a loom) practices of Poland, Romania, Bulgaria and the former Yugoslavia. There were different modernisms in operation in post-Second World War Eastern Europe. Nonetheless the discussion of Helen Frankenthaler’s abstract paintings, through a tapestry project commissioned for the Temple of Aaron Synagogue (1956) and woven in Felletin, France, is both illuminating and joyously illustrated. Abstraction and tapestry fitted like a glove despite the American critic Clement Greenberg’s distaste for decoration in art (pp. 191–202). The section on Judy Chicago’s Dinner Party Project (1979) repositions the weavers, who produced the six tapestry banners at the San Francisco Tapestry workshop, as fully credited collaborators, something Lurçat never did.
纽约州威彻斯特县。威尔斯对从挂毯到纺织或纤维艺术作为一种女权主义艺术形式的转变表示异议，认为以前的女权主义学者，如罗兹西卡·帕克，故意忽视战后时期的挂毯，而倾向于推广刺绣等传统的家居工艺。对帕克来说，刺绣主题提供了对家庭生活的更多分析，而挂毯被认为是一种公共艺术，不太可能成为女权主义批判的一部分。但是，女权主义从业者为什么干预这段历史的复杂性并没有得到充分解决，其他学者在这一点上需要参考。马格达莱娜·阿巴卡诺维茨（Magdalena Abakanowicz）的作品（第217页）被顺便引用，但西方挂毯与波兰、罗马尼亚、保加利亚和前南斯拉夫的“织机思维”（直接在织机上加工纤维）做法没有任何共同之处。在第二次世界大战后的东欧，有不同的现代化运作。尽管如此，海伦·弗兰肯塔勒（Helen Frankenthaler）的抽象画的讨论，通过一个为亚伦犹太教堂（Temple of Aaron Synagogue，1956）委托并在法国费勒廷编织的挂毯项目，既有启发性，又有令人愉快的插图。抽象和挂毯就像手套一样合身，尽管美国评论家克莱门特·格林伯格不喜欢艺术中的装饰（第191-202页）。Judy Chicago的晚宴项目（1979年）部分将在旧金山挂毯工作室制作六条挂毯横幅的编织者重新定位为完全值得信赖的合作者，这是Lurçat从未做过的。
{"title":"Lorinda Cramer, Needlework & Women’s Identity in Colonial Australia","authors":"M. Kargól","doi":"10.1080/00404969.2021.2007671","DOIUrl":"https://doi.org/10.1080/00404969.2021.2007671","url":null,"abstract":"Westchester County, New York. Wells takes issue with the shift from tapestry to textile or fibre art as a feminist art form, suggesting that previous feminist scholars, such as Rozsika Parker, deliberately overlooked tapestries from the post-war period in favour of promoting traditionally domestic crafts, such as embroidery. For Parker, the subject of embroidery offered greater analysis of domestic life, whereas tapestry was considered a public art and less likely to form part of a feminist critique. But the complexity of why feminist practitioners intervened in this history is not fully addressed and other scholars needed referencing at this point. There is a passing citation to the work of Magdalena Abakanowicz (p. 217) but Western tapestry has nothing in common with the ‘loom thinking’ (working fibre directly on a loom) practices of Poland, Romania, Bulgaria and the former Yugoslavia. There were different modernisms in operation in post-Second World War Eastern Europe. Nonetheless the discussion of Helen Frankenthaler’s abstract paintings, through a tapestry project commissioned for the Temple of Aaron Synagogue (1956) and woven in Felletin, France, is both illuminating and joyously illustrated. Abstraction and tapestry fitted like a glove despite the American critic Clement Greenberg’s distaste for decoration in art (pp. 191–202). The section on Judy Chicago’s Dinner Party Project (1979) repositions the weavers, who produced the six tapestry banners at the San Francisco Tapestry workshop, as fully credited collaborators, something Lurçat never did.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45361630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1923342
L. Edwards
Knitted garments became increasingly common throughout the sixteenth century in England, and it has been estimated that the production of stockings alone occupied at least 90,000 knitters at the end of the century. Knitting as an economic process in England has been little studied in this period. This paper examines the evidence for knitting as an industry in the later sixteenth century in Norwich, the second city in England, when it provided a source of employment for over seven per cent of the poorest people. It provides quantitative data for the socio-economic background of knitters in the 1570s, and for the minimum volume of production in the early 1580s. It analyses other evidence for this industry, including the production process and contemporary writings.
{"title":"The Stocking Knitting Industry of Later Sixteenth-Century Norwich","authors":"L. Edwards","doi":"10.1080/00404969.2021.1923342","DOIUrl":"https://doi.org/10.1080/00404969.2021.1923342","url":null,"abstract":"Knitted garments became increasingly common throughout the sixteenth century in England, and it has been estimated that the production of stockings alone occupied at least 90,000 knitters at the end of the century. Knitting as an economic process in England has been little studied in this period. This paper examines the evidence for knitting as an industry in the later sixteenth century in Norwich, the second city in England, when it provided a source of employment for over seven per cent of the poorest people. It provides quantitative data for the socio-economic background of knitters in the 1570s, and for the minimum volume of production in the early 1580s. It analyses other evidence for this industry, including the production process and contemporary writings.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45440436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2037919
Isabella Rosner
‘ERICA WILSON: A LIFE IN STITCHES’, ONLINE EXHIBITION, WINTERTHUR MUSEUM, GARDEN & LIBRARY, DELAWARE, USA, http://ericawilson.winterthur.org/ English-born American embroidery designer Erica Wilson (1928–2011) was and still is referred to as ‘America’s first lady of stitchery’. A graduate of the Royal School of Needlework, Wilson inspired a needlework renaissance, helped invent a new category of publishing and built a multimillion-dollar embroidery empire over the course of her approximately sixty-year career. Her 1962 book Crewel Embroidery resulted in a needlework revival as well as a sea change in publishing (Fig. 1). The first needlework book released by Scribner’s, it sold over one million copies and ushered in a massive demand for craft books. Nearly five decades after the book’s publication, Wilson’s influence is still felt in the craft revolution that has gripped the world during the coronavirus pandemic. FIG. 4. Collar detail of Women’s First World War, Underground Electric Railways Ticket Collector’s uniform. Featured in the ‘London’s Fashion Alphabet’ video for the letter U. # Museum of London, London.
{"title":"‘Erica Wilson: A Life in Stitches’","authors":"Isabella Rosner","doi":"10.1080/00404969.2021.2037919","DOIUrl":"https://doi.org/10.1080/00404969.2021.2037919","url":null,"abstract":"‘ERICA WILSON: A LIFE IN STITCHES’, ONLINE EXHIBITION, WINTERTHUR MUSEUM, GARDEN & LIBRARY, DELAWARE, USA, http://ericawilson.winterthur.org/ English-born American embroidery designer Erica Wilson (1928–2011) was and still is referred to as ‘America’s first lady of stitchery’. A graduate of the Royal School of Needlework, Wilson inspired a needlework renaissance, helped invent a new category of publishing and built a multimillion-dollar embroidery empire over the course of her approximately sixty-year career. Her 1962 book Crewel Embroidery resulted in a needlework revival as well as a sea change in publishing (Fig. 1). The first needlework book released by Scribner’s, it sold over one million copies and ushered in a massive demand for craft books. Nearly five decades after the book’s publication, Wilson’s influence is still felt in the craft revolution that has gripped the world during the coronavirus pandemic. FIG. 4. Collar detail of Women’s First World War, Underground Electric Railways Ticket Collector’s uniform. Featured in the ‘London’s Fashion Alphabet’ video for the letter U. # Museum of London, London.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":null,"pages":null},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49359824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1919955
H. Chevis
English clothiers began using Spanish merino wool in the late sixteenth century. A small, closely related group of clothier, merchant and mariner families in the west of England drove this initiative. Why they did so is debated. This paper analyses the factors driving the clothiers’ decision. Production, supply and price can be discounted as there was an adequate supply of both English and Spanish wools and the preferred Spanish Segovia wool became more expensive than the best English wools around 1600. The relative and changing quality of Spanish and English carding wools was the crucial issue. The clothiers competed in the domestic and international markets for luxury woollens and sought the best quality wool. Spanish wool’s improvement meant that, once secure supply chains for raw materials and the technological hurdles in weaving a lightweight cloth with short-fibred merino wool had been overcome, the future of Spanish wools in England was assured.
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