Archive for March, 2009

Jean Lurçat

Tuesday, March 24th, 2009

jean-lurcatJean Lurçat (1892-1966), who directed his energy into promoting tapestry, was not a weaver at all, but a French painter.

In the late 1950s he became interested in tapestry after visiting the fourteenth-century “Apocalypse” set in the castle at Angers, which was woven by Nicolas Bataille between 1375-79. Lurçat was immensely impressed by the skill and creativity of this tapestry.

Following his visit he became deeply involved in tapestry design and manufacture, his intention being to return to the style and technique of weaving that had existed before Raphael.

What is “Slit Tapestry” Technique?

Thursday, March 19th, 2009

300_5332This is the technique used most frequently for the flat-woven rugs and hangings called “kilims”. This technique is also used for pictorial tapestries, and other articles.

The fabrics are usually weft-faced, meaning that the warp is covered completely; the surface is ribbed in a vertical direction. Warp yarn are those that are affixed to the loom; weft yarns are those that are interlaced with the warp.

Natural Dyes

Tuesday, March 17th, 2009

20050726135232640_1Natural dyes from plants were the only dyes used until the 19th century; they produce attractive shades and, have good fastness characteristics and to light, if properly cared for.

These dyes, made from plants or other natural materials, were in use before 1850, in some cases, some natural dyes go back over 500 years.

Some examples of plants used for natural dying are Madder, Cochineal, Logwood and Brazilwood for pinks, reds, oranges and purples. Weld and Fustic chips for yellows and Oak bark, Onion skins, Cutch for browns and Oak Galls and Walnut for grays and black.

Ulrika Leander ensures that each of her tapestries is a unique creation using the highest quality natural fibers.

Brief History

Thursday, March 12th, 2009

hearst_castle_tapestryTapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex images on an enormous scale.

Many medieval tapestries measure as much as 5 x 10 yards and sets could include ten or more pieces. While much production was relatively coarse, intended for decorative purposes, wealthy patrons could commission designs whose subject embodied celebratory or propagandistic themes. Enriched with silk and gilt metallic threads, such tapestries were a central component of the ostentatious magnificence used by powerful secular and religious rulers to broadcast their wealth and might.

Annika Österlind

Tuesday, March 10th, 2009

annika-thumbSwedish
Ceramic sculptures

Educated in ceramic art and sculpture at the famous art school, Capellagården, located on the island of Öland in the Baltic Sea, Ms. Österlind had her big break-through about eight years ago at her very first exhibit in 2001 when she gained instant recognition for her sculptured women and ravens. Her sculptured women are luxuriant and radiate warmth and confidence. The forms are simple and elegant and serenade the joy of life; a woman lifting a small child up in the air, a woman reading a book, a woman sitting on the window sill kicking her legs or a woman just throwing her arms up in the air to express her happiness. The ravens express the typical curiosity of the species and they are executed in the same fashion as the women, round in form, expressing tremendous humor and yet so well thought through in the design process; each sculpture has its own personality.

Visit the Artist’s website at www.ateljeannika.se. Read about the other artists involved in this summer’s show, Absolut Art, at the Gallery by the River.

Stine van Wynsberghe

Thursday, March 5th, 2009

stine-thumbGerman
Textile appliqué

Ms. van Wynsberghe’s artistic education started at the Staedelschule in Frankfurt/M, Germany where she studied painting under Professor Ferdinand Lammeyer. Her great interest in languages led to the combination of text and images. Words are an integral part of the design but they are applied with a quizzical humor that raises prickly questions in the viewer’s mind and give her work its unsettling undercurrent.

As her work matured, Ms. van Wynsberghe was invited to teach her appliqué techniques at the Ecole des Beaux Arts in Antwerp, Belgium and in 1973 she had the opportunity to move to Divonne-les-Bains near Geneva. For the next 15 years, she was able to focus entirely on her textile work supported by a Swiss TV program and numerous exhibitions in France and Switzerland. It was during this period, because of the international nature of the community around Geneva, that a world-wide interest in her textile pictures began to develop.

Over the years, Ms. van Wynsberghe has had 15 one-woman shows in Sweden, Switzerland and France and participated in many group shows.

Visit the Artist’s website at www.stines.se. Read about the other artists involved in this summer’s show, Absolut Art, at the Gallery by the River.

Kerstin Rosengren

Tuesday, March 3rd, 2009

kerstin-thumbSwedish
Knitted sculptures and wall-hangings

With a degree in fashion design, Ms. Rosengren started out designing and making knitted garments in wool and linen. Later on her craft of knitted textile art took a dramatic turn as she began to explore textile pictures and knitted sculptures and wall-hangings. As with her garments, Ms. Rosengren incorporates traditional imagery from old weavings of Southern Sweden with her own contemporary designs. The dramatic tension between the old and the new and the sharp colors against a solid background, brings tremendous life to her vessels and wall-hangings. Ms. Rosengren has exhibited in many galleries in Sweden and abroad; this will be her second exhibit in the US.

Visit the Artist’s website at www.kerstinrosengren.se. Read about the other artists involved in this summer’s show, Absolut Art, at the Gallery by the River.