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The Confraternity Of Embroiderers In Salamanca During The Sixteenth Century: Its Members And Their Work, Marta Newman-Laguardia

Textile Society of America: Symposium Proceedings

Introduction

The city of Salamanca, capital of the province of the same name, is situated in western Spain. Salamanca was famous during the Renaissance due to its prestigious University founded by King Alphonse IX in the Thirteenth century. The city of Salamanca is also known for its famous architectural and historical landmarks, especially its characteristic Plateresque Style, a decorative technique of shallow relief and intricate detail named for its resemblance to the art of the platero (silversmith). The most representative building is the entrance to the University, which symbolize the great renown of Salamanca in the Sixteenth century. Moreover, Salamanca …

The Organization Of Work On Ancient Peruvian Embroideries: Putting People Back Into The Cloth, Anne Paul

Textile Society of America: Symposium Proceedings

During the early years of this century, treasure hunters working the arid Peruvian south coast discovered well-preserved textiles that were unlike anything previously known from the Central Andes. Simple in structure (plain weave with embroidery) but stunning in appearance, these textiles had been hidden from human eyes for almost two millennia, buried in desert graves on the Paracas Peninsula. One of these textiles, a mantle in the collection of the American Museum of Natural History in New York, is the subject of this essay. It and other Paracas textiles are so remote from us in time and in culture that …

Damask Linen Manufacture And Marketing At The Turn-Of-The-Century: Interpreting The Biltmore House Collection, Kate Rehkopf

Textile Society of America: Symposium Proceedings

Damask linen manufacture has a long and varied history. Appearing in Europe around the fifth century, damask linens quickly became desired by those possessing great wealth. Figured damask linen was especially prized and was often the only type of table cover to be used by royalty. Heraldic crests, hunting scenes, historical events, and other symbols or occasions of cultural importance were memorialized in figured damask linen. By the end of the nineteenth century, the use of figured damask linens was a symbol of royalty, luxury, and beauty.

These attributes figured prominently in the appointment of George Washington Vanderbilt's home, Biltmore, …

Faith. Hope, And Charity: Making Madras, C. 1880-1930

Textile Society of America: Symposium Proceedings

Weft·figured Scotch leno gauze, known as madras, was made in Darvel and other Ayrshire townships that had by 1800 become highly specialized in the production of fine, patterned cotton fabrics. This paper shows how pride in madras-weaving skills and a desire to maintain them not only perpetuated the design and manufacture of these cloths, but also inspired the development of new cloth types. It demonstrates the significance of a passing reference in Three Generations in a Family Textile Firm (Jocelyn Morton 1971, p.49) to the response by Alexander Morton - a Darvel madras weaver turned merchant/manufacturer by 1870 - …

The Timelessness Of Damask, Milton Sonday

Textile Society of America: Symposium Proceedings

The damask technique as we know it today is probably one of the oldest techniques (if not the oldest) for weaving figured patterns that has an unbroken tradition that continues today in forms that are commercially and artistically strong.

The origin of the technique can be placed in the Far East centuries before the opening of the Christian era. The specific loom mechanisms that are often used to define damask weaving were used in China before the Tang period (A.D. 618-907). A remarkable number of silks survive from early periods of development.

In addition to being defined as a specific …

Links In A Chain: The Collaborative Process Of Creating Textiles For The Interior Design Industry, Krista Stack

Textile Society of America: Symposium Proceedings

This site seminar will take you to the Larsen Design Studio where Jack Lenor Larsen has guided his company for the past 45 years. Mr. Larsen is currently retired and acts as a consultant, but the design process continues. This presentation will show the many processes and people involved in the creation of textiles for the interior design industry today. Each fabric is a combination of available technology, personal inspiration, and market demand. We will track the story of some significant Larsen classics from the creation of the original artwork through development decisions including materials, structure, color direction, price consideration, …

Introduction To The Panel, Yoshiko Iwamoto Wada

Textile Society of America: Symposium Proceedings

The socio-historical factors of this era, including the effect of foreign culture, influenced consumer choice and production decisions regarding meisen textiles. Industrialization brought by the West generated demand for a new urban labor force, thereby providing for women work and educational opportunities that had not previously existed The cloth produced duringJhis time in history spoke of a kind of freedom and a conspicuous popular taste that celebrated women is changing position. Looking at the way women expressed themselves through textiles provides a wonderful approach to understanding this period of recent Japanese history.

Meisen was a commercial term for a popular, …

Concept, Considerations And Creativity Designing And Making Textiles For The Contract Industry, Elizabeth Whelan

Textile Society of America: Symposium Proceedings

Designing fabrics for the contract marketplace is more than just applying artistic and technical expertise to the medium. Textiles are often created and made with specific products in mind, such as furniture, panel fabrics, drapery, healthcare fabrics, and wallcovering. In addition to making fabrics that suit a particular function, the textiles also need to perform under basic industry guidelines and appeal to various aesthetic standards. The aesthetic standard is determined by market forces that comprise of a diverse customer base: architects, interior designers, facilities managers, and other product makers such as office furniture makers. American textile jobbers sell to this …

Morris De Camp Crawford And The "Designed In America" Campaign, 1916-1922, Lauren D. Whitley

Textile Society of America: Symposium Proceedings

The start of the First World War stimulated among other things a reassessment of America's relationship with Europe. Many in the art world voiced the need for the industrial arts to assert independence and William Laurel Harris echoed popular sentiment when he wrote in Good Furniture magazine:

We are ..... a great industrial nation without an industrial art. Now is the time, and now is the hour, when by intelligent action our manufacturers can rectify this lack of practical thought in our educational efforts. The manufacturers, the educators and the artistic portion of the nation must join hands in creating …

Carol Haerer: The White Paintings, Daniel A. Siedell, Charles C. Eldredge

Sheldon Museum of Art: Catalogs and Publications

The Sheldon Memorial Art Gallery and Sculpture Garden is pleased to present Sheldon Solo: Carol Haerer, The White Paintings, an exhibition featuring Carol Haerer's white paintings of the mid to late 1960s. This exhibition is the most recent installment of the "Sheldon Solo" exhibition series, a series established in 1988 to feature the work of important American artists within the context of the Sheldon Gallery's nationally recognized collection of 20th-century American Art.

A midwestern native who attended Doane College and the University of Nebraska-Lincoln, Carol Haerer studied in Paris on a Fulbright Fellowship in 1955, and after receiving an M.F.A. …

The Art Of Abstraction, Daniel A. Siedell

Sheldon Museum of Art: Catalogs and Publications

The Sheldon Memorial Art Gallery and Sculpture Garden is pleased to present The Art of Abstraction. the eleventh annual Sheldon Statewide exhibition. Sheldon Statewide is a unique collaboration between the Sheldon Gallery. the Nebraska Art Association-a nonprofit volunteer membership organization dedicated to the advancement of the visual arts in Nebraska--and the efforts and cooperation of the many Nebraska communities that serve as exhibition venues. After a decade of activity. in which it has participated in the outreach mission of the University of Nebraska-Lincoln. this highly successful touring program has collaborated with the Nebraska Department of Education and the Getty …

Investigating The Origins Of The Raphael Tapestries At The Cathedral Of St. John The Divine, Camille Myers Breeze

Textile Society of America: Symposium Proceedings

This Site Seminar will focus on research into the location and date of manufacturing of a suite of eight English tapestries depicting "The Acts of the Apostles". The tapestries were donated to the Cathedral of St. John the Divine in 1954 by Louise Brugieres of Newport, RI and New York, NY and have hung in the bays of the nave since that time. Based on cartoons designed by Raphael for Pope Leo X in 1516, they are among fifty-five full or partial copies known of the original tapestries woven for the lower walls of the Sistine Chapel. Seven of the …

From Kitsch To Art Moderne: Popular Textiles For Women In The First Half Of Twentieth-Century Japan, Masanao Arai

Textile Society of America: Symposium Proceedings

When we think of the Meiji period(I868-1912) and the definition of women student's roles in Japanese society, we envision young women with long black hair worn in the style similar to the "Gibson Girl" of the American Victorian period, but with a wide ribbon tied in a big bow, wearing arrow-feather-pattern ikat (yagasuri) kimono with maroon (ebicha) pleated long culotte- like skirt, called hakama, and lace-up boots. The fashion mode of Jagakusei (women students) played an improtant role in the production of meisen textiles.

They're often depicted riding on a bicycle, which was a novel attraction …

Exploring Patttern In "Kashmir" And "Paisley" Shawls, Arlene C. Cooper

Textile Society of America: Symposium Proceedings

Using six extraordinary shawls from the collection of the Metropolitan Museum of Art, this presentation will explore the relationship bwtween how a shawl is made and the symmetry system used in its patterning, and briefly consider the terminology which might best express these relationships. Certain symmetry systems and styles of shawl patterning may evolve from the capabilities of particular looms. For instance, weaving on a basic Indian hand loom with the characteristic Indian shawl weave, 2/2 double-interlocked twill, is a very slow process, which encourages simple symmetry: a motif repeating exactly across the width of a textile, or straight repeat. …

Contents And Introduction

Textile Society of America: Symposium Proceedings

CREATING TEXTILES: Makers, Methods and Markets

Proceedings of the

Sixth Biennial Symposium

of the Textile Society of America, Inc.

New York, New York

1998

The papers are unedited and reproduced as submitted. No part of this book may be reproduced in any form or by any means without written permission from the author. Students and researchers wishing to cite specific authors are encouraged to contact those individuals, as many of these papers represent work in progress, or work which has been committed for publication elsewhere.

The Textile Society of America, Inc. provides a forum for the exchange and dissemination of …

The American Coach Lace Industry, Nancy Britton

Textile Society of America: Symposium Proceedings

Introduction

Coach lace is a trim used almost exclusively in the upholstery of carriages and coaches. The names "coach lace" or "livery lace" were used consistently throughout its manufacture. The robust looped wool pile created by a supplementary warp, was a variation of velvet similar to Brussels carpeting and makes this trim easily identifiable.

This paper examines the manufacturing of American coach lace from the mid- 18th century until its demise in the 1930's. Coach lace is a textile little recognized today. The prevalence and context within which it existed and how coach lace adapted to new forms of transportation, …

Tibeb, Art Of The Weaver In Addis Ababa Today, Jannes Waples Gibson

Textile Society of America: Symposium Proceedings

Tibeb in this presentation refers to the decoration or pattern which is handwoven with supplementary weft into the border of the shamma (or shemma) worn by women and men in Ethiopia and Eritrea. The shamma traditionally was worn by the Christian populations of the northern and central highlands. Today one can find cloth with the woven tibeb in most markets. There is no imported textile sold in Ethiopia today that takes the place of these valued textiles. Ethiopian artist Maitre Afewerk Tekle has captured the special feeling among Ethiopians for the fine cotton shamma in his painting "Mother Ethiopia" …

Recuperating A Wealth Of Women's Weavings In The Valleys Of Chuquisaca, Bolivia, Kevin Healy, Veronica Cereceda

Textile Society of America: Symposium Proceedings

Textile arts in the Andean region have long been experiencing a decline. The success of the Jalq'a textiles program, growing over the last ten years in southern Bolivia, however, demonstrates a possible alternative path for Andean textile arts.

For various reasons, in the 1970s, the beautiful and complex textiles that were the emblem of the Jalq'a communities were disappearing. The fleece spun by hand was replaced by acrylic thread, much of the arts of spinning and dyeing were lost, and with those, went the chromatic harmonies as well. The beautiful animals that had defined the Jalq'a style (often called Potolo) …

Technological Development In Late Saxon Textile Production: Its Relationship To An Emerging Market Economy And Changes In Society, Philippa A. Henry

Textile Society of America: Symposium Proceedings

Introduction

The process of change from domestic textile production in early Anglo-Saxon England (5th - mid-7th century) to the more commercially based, organised industry of the late Saxon period (late 9th - 11th century) is a long and complex one. These changes form a vital part of the continuum which reached its zenith in the late Medieval period when the wool and textile industry created much of the wealth of England.

The importance of this industry in late Medieval England is well documented. In contrast, its genesis in the late Saxon period has received little attention. Although documentary sources are …

Textile Traditions Of Ausangate. Peru And Indigenous Strategies For Dealing With Tourism And The Cuzco Market, Andrea M. Heckman

Textile Society of America: Symposium Proceedings

Contemporary Andean weavers are the descendants of a textile heritage dating from the earliest known plant fiver baskets found in the dry Gitarrero Cave in the Central Cordillera Blanca of Peru. carbon-dated 8.600 B.C. Luis Lumvreras. a well-known Peruvian scholar. said about Andean textiles. "Without a doubt. the art and manufacture of textiles constitute one of the most significant achievements of the ancient peoples of Peru."

In this paper. I will present briefly how Quechua cosmology or world view is taught. reinforced and retained through the continued use of traditional Andean textiles. Next. I will show through ethnographic data how …

Meeting The Needs Of Manufacturers: The Education Of Silk Designers In Eighteenth Century Lyons, Lesley Ellis Miller

Textile Society of America: Symposium Proceedings

Theories about the best education for craftsmen and designers preoccupied a number of French thinkers during the Enlightenment: they included several notable inhabitants of Lyons, a city which depended for its reputation on the manufacturing of patterned silks. After several years of debate, the initiatives of these individuals led, in 1756, to the founding of a school of drawing (ecole gratuite de dessin), which received Royal approval the following year, and direct central government funding from 1780. The founders and administrators of the school claimed that they were targeting future silk designers to whom they offered tuition in …

Electronic Textiles: Hacking The Museum, Barbara Layne

Textile Society of America: Symposium Proceedings

The subject of my presentation, Electronic Textiles: Hacking the Museum, is a project I orchestrated between the Marsil Museum of Textiles in St. Lambert, Quebec and the Glass Box Gallery at Salford University near Manchester, England. The purpose was to manipulate images of textile objects as a way to reconsider the practice of collecting, question the system of classification (and thereby the authority of the museum), and open up new possibilities for the collected object. The Marsil is the only museum in Quebec whose mandate is exclusively dedicated to textiles. Its catalogue system catagorizes the collection according to function …

Hogushi And Heiyo: Methods Of Creating Painterly Images In Woven Textiles, Kazuo Mutoh

Textile Society of America: Symposium Proceedings

Proto-Meisen

The term meisen generally refers to plain-weave silk cloth patterned with woven (not printed) stripes or kasuri and made into kimono, haori, and nen'neko (literally 'jacket sleeper, " a padded coat worn during the autumn and winter months for carrying babies on the back). In the first half ofthe twentieth century, almost all Japanese women were familiar with meisen- as ordinary, everyday wear for the upper and middle classes and as dress-up kimono for working- class and country women. In the twenty four years between 1913 and 1937, according to the census, 200 million bolts …

"Scutulis Dividere Gallia": Weaving On Tablets In Western Europe, Carolyn Priest-Dorman

Textile Society of America: Symposium Proceedings

Tablet weaving is a structurally intricate, flexible art indigenous to pre-industrial Europe and northwest Asia. It has been used to reinforce the borders of woven textiles as well as to create sturdy, often decorative bands used as strapping, belts, a variety of garment trimmings, and ecclesiastical vestments. To some extent the history of tablet weaving can be correlated with the history of costume.

There are no known early written sources describing how to tablet weave, although a few sources make reference to an art which may be tablet weaving. Historical depictions of tablet weaving are few, and most are fraught …

Between The Field And The Museum: The Benedict Collection Of Bagobo Abaca Ikat Textiles, Cherubim A. Quizon

Textile Society of America: Symposium Proceedings

Any researcher working on vintage textiles and clothing from the Philippines collected during the early years of the American colonial period is likely to encounter the following informative catalogue entries: "From headhunters," or "From chiefs attire." Since the Bagobo people of southern Mindanao were also once famous for the practice of human sacrifice, the cloth, weaponry and ornament of these people were of high anecdotal value for collectors.

By contrast, a typical entry in the Bagobo textile collection of Laura Watson Benedict in this museum, the American Museum of Natural History (AMNH), circa 1910 reads: "Woven by Antap [who specializes …

Starlets And Masters: Meisen Posters Published By The Textile Makers, Yoshiko Iwamoto Wada

Textile Society of America: Symposium Proceedings

A group of more than a dozen original paintings of "kimono beauties" or bijinga, literally "picture of a beauty," is in the collection of the Ashikaga Museum of Modem Art, Ashikaga, Tochigi Prefecture. They were painted by well-respected master painters between 1920s and 1930s, commissioned by the Ashikaga Meisen Weavers Association to be reproduced in postcards and posters to promote their products, Ashikaga meisen.

Another group of large posters of movie actress "beauties" wearing meisen kimonos is in the collection of Shimojo Koichiro, a former meisen dealer/producer, now a drapery manufacturer in lsesaki, Gunma Prefecture. These posters were …

Exploring Pattern In Woven Design: A Comparison Of Two Seventeenth Century Italian Textiles, Melinda Watt

Textile Society of America: Symposium Proceedings

This paper explores the differences in both pattern and technical features between two similar woven silk textiles from the collection of The Metropolitan Museum of Art. The two textiles are seventeenth century Italian woven silks. They have in common an identical brocaded pattern consisting of four floral motifs, two are large and two are small. It is the differences between the two textiles that provoke comparison, more than do their similarities. First, the ground colors are different, as are the ground weaves. Second, the individual brocaded motifs, while identical in detail, are a mirror reflection from one textile to the …

The Grape And The Vine: A Motif In Contemporary Jewish Textiles, Reba Wulkan

Textile Society of America: Symposium Proceedings

Grapes and grapevines are prominent motifs in the vast range of Jewish art dating back to Antiquity. In recent decades, there has been growing interest in creating contemporary Jewish ceremonial textiles for the home and synagogue, as well as textile art on Jewish themes. The grape and vine motif have often been included in these new works.

A brief survey of Jewish sources:

Grapes and wine are highly important symbols in Jewish tradition and ritual and date back to the 1st century. A magnificent golden vine that hung over the inner portal of the Second Temple was described by Josephus …

Visionaire 25: Visionary, Stephen Gan, Cecilia Dean, James Kaliardos, Greg Foley, Craig Mcdean

Visionaire

104 unnumbered pages : all illustrations (some color) ; 13 x 33 cm + 1 compact disc (60 min. : digital ; 4 3/4 in.) + 2 cases (33 x 33 x 3 cm ; 33 x 34 x 3 cm)., Twenty-six numbered booklets of 4 pages each, unbound, all housed in one slip case inside (cardboard) another slip case (plastic). Title from unnumbered page 4 of booklet 1. Contributors: Craig McDean, Junya Watanabe, Mario Sorrenti, Jane How, David Lasnet, Peter Robathan, Terry Richardson, Miles Aldridge, Mario Testino, Carine Roitfeld, Mats Gustafson, Yohji Yamamoto, Karl Lagerfeld, Martin Margiela, Bettina Komenda, …

Interiors: Recent Paintings By Duane Keiser, University Of Richmond Museums

Exhibition Brochures

Interiors: Recent Paintings by Duane Keiser

February 26 to April 04, 1998

Marsh Art Gallery

Introduction

Duane Keiser's exhibition features his recent oil paintings dealing with interiors. Evoking the psychological intensity we often feel when we find ourselves alone inside silent architectural spaces, whether domestic or public, his paintings investigate this "intimacy of the room." Although devoid of people, his interiors are very much about the people who inhabit these seemingly ordinary spaces, about the haunting presence of humanity that remains, even as we catch tantalizing glimpses of the world outside. His paintings elicit our own experiences of such spaces, …