#women in textile arts

[sexypinkon]

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                                           Seen on Facebook....

Liberty Mission Accomplished ... this is all that’s left of the Althea McNish limited collection; it sold like hot cakes with many designs no longer available)

[die-rosastrasse]

François Martin-Kavel & pink fabrics

French, 1861-1931

[fleshaesthetic]

Candace Couse | Landlocked, 2010

(further reading)

[the-cricket-chirps]

Rebecca Davis (American)

Star of Lemoyne Quilt

ca. 1846

[arthistoryanimalia]

#TextileTuesday:

Embroidered Drawn Net Bed Valance with Bobbin Lace Border

Russian, 1766-1833

Linen ground, linen embroidery threads

The Cone Collection, BMA

on display at “Making Her Mark: A History of #WomenArtists in Europe, 1400-1800” exhibition at Baltimore Museum of Art

[abwwia]

Red Bottom Tipi quilt by Almira Buffalo Bone Jackson. Walter Larrimore / NMAI, SI

[gliklofhameln]

Torah ark curtain by Simhah, wife of Menahem Levi Meshullami.

From Venice, 1680/81. Embroidered with silk and metallic thread; metallic fringe. 216.1 × 140.1 cm.

This is an extraordinary Torah curtain because of its impressive size, beautiful workmanship, and unusual iconography. The dedication at the bottom reaffirms the significant role played by Italian Jewish women in the creation of synagogue textiles, even among very wealthy and prominent families such as the Meshullami, one of the first Jewish families to settle in Venice.

What is unusual is the detailed representation of Jerusalem, unique in Torah curtain iconography, but common on another type of seventeenth-century Italian Judaica, decorated ketubbot. Since the Italian Jewish marriage ceremony includes the recitation of Psalm 128, which mentions Jerusalem, and remembrances of the city's destruction conclude every Jewish wedding, depictions of the city were appropriate to the decoration of the contracts displayed at the ceremony, creating an iconographic link between two forms of Judaica prominent in the lives of women.

[butchqueersapphic]

by ugemfo on instagram

[oncanvas]

Crazy Too Quilt, Lia Cook, 1989

Dyed rayon, acrylic on woven and pressed abaca paper 63 ¼ x 86 ⅞ in. (160.7 x 220.6 cm) Los Angeles County Museum of Art, Los Angeles, CA, USA

[dozydawn]

Needlepoint embroidery (found works made from hobby kits, unpicked and reworked) by Matt Smith.

[resplendentoutfit]

Robe à la Française, Part II

Fig. 1: Robe à la française • 1730-1740 • © Stanislas Wolff / Paris Musées, Palais Galliera

When I was researching the Rococo fashion era, I collected so many images and I have to share some of my favorites. It's not so much the style of the Robe à la Française that I like (though I do very much like the box pleats and drape of the back) but the fabrics, colors, and patterns. Fig. 1 shows a gorgeous print in a beautiful color combination. Such a print for a dress today wouldn't work very well, as contemporary dresses don't have the volume of the 18th century styles, nor the lovely draping in the back of the Robe à la Française.

The Robe à la Française was derived from the loose negligee sacque dress of the earlier part of the century, which was pleated from the shoulders at the front at the back.

Metropolitan Museum of Art • 1760-70 • Silk, cotton

The silhouette was achieved with a funnel-shaped bust joining wide rectangular skirts. The wide skirts were supported by panniers and hoops constructed from cane, metal, and baleen. Fig. 2 shows a portrait sitter wearing a Robe à la Française with a contrasting underskirt.

Fig. 2: Artist unknown (British). Mrs. Cadoux, ca. 1770

[die-rosastrasse]

Hans Zatzka

Austrian, 1859-1945

The Belly Dancer (details)

[fleshaesthetic]

Holly Rozier | Separation, 2015

The soft and luxurious qualities inherent in the materials I use are contradictory to the coarse and sometimes unpleasant emotions instigating their creation.

(further viewing)

[the-cricket-chirps]

Ellen Morton Littlejohn, Margaret Morton Bibb

Quilt, Star of Bethlehem pattern variation

ca. 1837–50

[arthistoryanimalia]

#TextileTuesday: look closely, it’s a “needlepainting!” A favorite piece from the “Making Her Mark: A History of #WomenArtists in Europe, 1400-1800” exhibition at Baltimore Museum of Art:

Mary Linwood (British, 1755-1845) after George Stubbs (British, 1724-1806) Tygress, c. 1798 Worsted wool needlework

“The vibrant copper, red, and green passages in this copy after George Stubb's painting Tygress are rendered not in paint but stitched in dyed wool thread. By the 1780s, Mary Linwood had become famous for her ‘needlepaintings,’ which she exhibited at the Society of Artists in London.

Later, she opened her own public exhibition of her works that debuted in London and then toured to cities in Scotland and Ireland; in 1806, she opened her own gallery in Leicester Square in London, where this work was shown. Her gallery remained a major attraction for nearly forty years.”

[ceejthedeej]

Louise Bourgeois