Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1948190
Pat Hudson
practice, focusing upon Gaudiya Vaishnava imagery. For her, the visual stories of Krishna, the repetition of other motifs, and the rhythm of stitching combined to provide spiritual renewal and affirm her place in the spiritual world, apart from the earthly realm. While the case studies provide the specifics about kantha as the product of women’s voices otherwise silent in the written record, Ghosh throughout the volume pays attention to kantha not simply as a stable aesthetic work of art subject to formal analysis, as did Stella Kramrisch, but rather as a living entity that embodies intimacy across time and generations through realisation, use, maintenance and gifting. Attentive to the evidence of touch, smell, staining, fading and darning, Ghosh engages with kanthas as ‘textile transmissions’ (p. 64) that embody and shape a multi-generational investment. The physical evidence also evokes the many different functions these textiles provided, from warmth to an altar for puja. Finally, the care and attention to their cleaning, drying in the sun and storage in the off-season all speak to their enduring value. Ghosh’s fieldwork not only in Bengal but throughout different Bengali expatriate communities further underscores their continued value in linking generations across space. Although Ghosh’s volume is an important contribution to South Asian material culture, it should also be required reading for textile historians. It follows Linda Baumgarten’s lead in emphasising the importance of maintenance and refashioning, and quilting scholarship’s interest in textiles as important lenses into women’s worlds. Listening to the voices of the embroiderers as found in the physical evidence of kantha, Ghosh has written a powerful volume that documents the creation of memory through the making, use and care of a very specific textile.
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1948195
L. Quillien
confident hand and a fine understanding of perspective and colour. In delving in such detail into the Spanish interlude in Grognard’s long and productive life, this book underlines the many aesthetic, financial, linguistic, social and technical skills that prepared this talented manufacturer’s son to serve elite clients in different European states and unexpectedly rise to the position of Inspector of the Mobilier Imp erial in 1813. After his death he was hailed as a role model for pupils at the Lyonnais Ecole des Beaux-Arts to which he left a substantial legacy. Textiles were at the heart of his life’s work; Spanish royal family and grandees were key to his success in his fourth decade.
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2007680
Zoë Thomas
Brenda M. King’s long-awaited The Wardle Family and its Circle illuminates the industrious, creative and entrepreneurial activities of the Staffordshire-based Wardle family across the late nineteenth and early twentieth centuries. Despite being highly acclaimed in artistic, intellectual and commercial circles during their lives, histories of the Arts and Crafts and Aesthetic Movements— and textile histories and histories of entrepreneurial families more generally — have, until now, largely overlooked the extent of the Wardles’ frenetic, pioneering accomplishments. The book is organised around four thematic chapters, the first of which offers an introduction to the Wardles and discusses important moments, such as William Morris’s many interactions with the family. Several family members were involved in the business, but key figures were the professional embroiderer Elizabeth; her husband Thomas, an artist and chemist who pioneered manufacturing processes in Indian wild silk dyeing; and Elizabeth’s brother, George Young Wardle, a designer who worked with both William Morris and Thomas Wardle. The second chapter tells the history of the Leek Embroidery Society. Launched in 1879–1880 by Thomas and Elizabeth, it became widely known for its production of exquisite domestic and ecclesiastical work, with most of the materials being manufactured, dyed and printed in Staffordshire. The third chapter discusses the Society’s creation of a facsimile of the Bayeux Tapestry, reflecting on how and why it was made and asserting its significance. The final chapter argues for the collaborative nature of the work produced for the new Gothic Revival churches in the Staffordshire area during this area, revealing that the architects who created the designs worked closely with the needlewomen who interpreted their schemes for church interiors, as well as the workers who produced the materials. This engaging book makes several crucial contributions. Positioning the Wardle family centre-stage contributes to the growing scholarly move to recalibrate understanding of the Arts and Crafts Movement by moving the focus away from the activities of a small cluster of elite men based in South-East England. Rather than simply following in the footsteps of better-known names, the Wardles, based in Leek in the West Midlands, are shown as pioneering creative figures in their own right. The focus on Elizabeth Wardle is a welcome contribution. Chapter 3 provides evidence for the significance of the embroidery she produced and her public role in the Leek community. Moreover, King makes an important wider argument about the need for greater specificity when considering the historical activities and agency of female needlework artists: ‘The concept of the suppressed seamstress or bored housewife who plies a needle is a seductive and persistent one, but has denied the public acclaim that many creative women undoubtedly experienced’ (p. 187). Her brief analysis of trade directories tantalis
布伦达·M·金（Brenda M.King）期待已久的《沃德尔家族及其圈子》（The Wardle Family and its Circle）讲述了斯塔福德郡沃德尔家族在19世纪末和20世纪初的勤奋、创造性和创业活动。尽管他们一生中在艺术界、知识界和商业界广受赞誉，但工艺美术和美学运动的历史——以及更广泛的纺织史和创业家庭的历史——直到现在，在很大程度上忽视了沃德尔夫妇狂热、开拓性成就的程度。这本书围绕四个主题章节展开，第一章介绍了Wardles一家，并讨论了重要时刻，例如William Morris与家人的多次互动。几名家庭成员参与了这项业务，但关键人物是专业刺绣师伊丽莎白；她的丈夫托马斯是一位艺术家和化学家，他开创了印度野生丝绸染色的制造工艺；伊丽莎白的哥哥乔治·杨·沃德尔是一位设计师，曾与威廉·莫里斯和托马斯·沃德尔合作。第二章告诉了Leek刺绣社的历史。它由托马斯和伊丽莎白于1879年至1880年推出，因其制作精美的家庭和教会作品而广为人知，大部分材料都是在斯塔福德郡制造、染色和印刷的。第三章讨论了该学会对贝叶挂毯的复制，反思了它是如何以及为什么制作的，并强调了它的意义。最后一章论证了在这一地区为斯塔福德郡新哥特式复兴教堂制作的作品的合作性质，揭示了创作设计的建筑师与解读教堂内部设计方案的女红以及制作材料的工人密切合作。这本引人入胜的书做出了几个重要贡献。将沃德尔家族定位在舞台中心，有助于学术界不断发展，通过将焦点从英格兰东南部的一小群精英男性的活动上转移开，重新校准对工艺美术运动的理解。总部位于西米德兰兹郡里克的Wardles一家并没有简单地追随更知名的名字的脚步，而是凭借自己的力量被视为开拓性的创意人物。对伊丽莎白·沃德尔的关注是一个值得欢迎的贡献。第三章为她制作的刺绣作品的意义以及她在韭菜社区中的公众角色提供了证据。此外，金提出了一个重要的更广泛的论点，即在考虑女性针线活艺术家的历史活动和代理时，需要更具体：“压抑的女裁缝或无聊的家庭主妇铺针的概念是一个诱人而持久的概念，但否认了许多有创造力的女性无疑经历过的公众赞誉”（第187页）。她对贸易目录的简要分析令人着迷地表明，在这一时期，有几位女性在Leek创办了与刺绣相关的企业。然而，整本书几乎没有讨论阶级地位（以及性别）如何调节参与者的机会。相反，Leek被描绘成一个“如果他们愿意，镇上的每个人都有
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.1938794
M. Lambert
This paper seeks primarily to survey the evidence for the involvement of Liverpool traders and dealers in the profitable slop trade supplying the Royal Navy and the ever increasing merchant fleet involved in the slave trade from Africa across the Atlantic. It will provide examples that suggest that Liverpool was ideally placed, fiercely independent and commercially dominant, to be able to seize a sizeable portion of the trade in ready-made slop clothing for its resident merchants and sailors.
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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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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2007669
A. Coxon
undoubtedly is the impressive sixteenthcentury parokhet (curtain) from Prague’s Jewish Museum, notable not only for its accomplished craftsmanship, but also for the family history behind its making (pp. 310–11). The shorter third section examines the inscriptions on textiles donated to the synagogue by pious adherents. It includes an annotated corpus of dedicatory inscriptions found on synagogal textiles, an interesting source of information on Jewish customs. The book is further complemented by appendices on inventory lists, documents relevant to textiles and various indexes. Without question, this monograph is based on solid scholarship and it will pave the way to more focused and detailed case studies. One possible direction is the comparative study of synagogal textiles in multicultural contexts, exploring the practices shared with the other Abrahamic religions.
{"title":"Burgu Dogramaci, ed., Textile Modernism","authors":"A. Coxon","doi":"10.1080/00404969.2021.2007669","DOIUrl":"https://doi.org/10.1080/00404969.2021.2007669","url":null,"abstract":"undoubtedly is the impressive sixteenthcentury parokhet (curtain) from Prague’s Jewish Museum, notable not only for its accomplished craftsmanship, but also for the family history behind its making (pp. 310–11). The shorter third section examines the inscriptions on textiles donated to the synagogue by pious adherents. It includes an annotated corpus of dedicatory inscriptions found on synagogal textiles, an interesting source of information on Jewish customs. The book is further complemented by appendices on inventory lists, documents relevant to textiles and various indexes. Without question, this monograph is based on solid scholarship and it will pave the way to more focused and detailed case studies. One possible direction is the comparative study of synagogal textiles in multicultural contexts, exploring the practices shared with the other Abrahamic religions.","PeriodicalId":43311,"journal":{"name":"TEXTILE HISTORY","volume":"52 1","pages":"223 - 225"},"PeriodicalIF":1.0,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45307047","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: 10.1080/00404969.2021.1948234
Clare Rose
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2007670
Janis Jefferies
K. L. H. Wells’s Weaving Modernism: Postwar Tapestry Between Paris and New York is a thoroughly researched examination of western tapestry’s role as a modernist medium. Wells maps out how tapestry became a form attracting key modern artists, including Picasso, Mir o, Matisse, Lurçat, Helen Frankenthaler, Josef Albers and Anni Albers, to its economic worth as multiples or limited editions, reproduced from an original artwork. Wells defines western tapestry in the opening pages of her study. Since the fifteenth century, the standard technique to produce tapestry in the western tradition is on either a high-warp or low-warp loom. For 500 years, the specialised weavers of Flanders, France, England, Italy, Germany and elsewhere carried on the tradition of weaving after a cartoon (fullscale preliminary design) provided to them by professional painters. By the time of the Second World War, many large-scale, expensive European tapestry workshops, such as Arras, Tournai and Brussels, as well as the Beauvais factory in Paris, had little economic viability. The revival of the art of tapestry after 1945 is mainly due to the French artist Jean Lurçat (1892–1966). He gathered around him major contemporary architects and painters such as Le Corbusier and Picasso and persuaded them to design tapestry cartoons. In the 1950s Lurçat was a very successful artist exhibiting worldwide; although he was a painter, not a weaver, most of his works were woven in the historic workshops of the French city of Aubusson. Aubusson tapestries are still recognised as a gold standard throughout the world. Lurçat believed that tapestries should be given front-door access to museums and be acknowledged as a type of monumental art, collected and promoted by curators and private buyers alike. As Wells points out, French patrons such as Marie Cuttoli encouraged artists to embrace tapestry as heir to a rich artistic tradition and sold their work well and at high prices (pp. 131–33). It is one of the strengths of Wells’s book that she positions western tapestry as part of a broader marketplace modernism in which artists produced work for corporate locations and churches as well as for museums, galleries and private homes. Indeed, for Wells, tapestry was a model for the modernist movement on both sides of the Atlantic. As she argues, ‘tapestry enabled the rise of modernist abstraction to its position of dominance, most obviously expanding the market for modern art but also in subtler ways in which tapestry served as a conceptual and formal model for modern artists’ (p. 3). The term ‘marketplace modernism’ is very useful in Wells’s study. As coopted by the marketplace, modernism quickly became the most efficient and effective means to sell to a public eager to recover some form of comfort and satisfaction in a traumatised post-war world. For example, Pablo Picasso, as a leader of the avant-garde, was a model for other artists, and his commercial strategies reveal the market not merely as a
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Pub Date : 2021-07-03DOI: 10.1080/00404969.2021.2012094
T. Smit
The production of silk was an important aspect of the economy of Islamic Sicily that the Norman count and then kings of Sicily worked to maintain. The production of silk survived along with other economic practices of Islamic Sicily, such as irrigation techniques and land use. Silk continued to move along the trade routes of the Central Mediterranean into the twelfth century. While those connections were disrupted by unrest and revolt at the end of the twelfth century, they survived in some form until the mid-thirteenth century. It was only the expulsion of Muslims from Sicily that ended these connections.
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