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Stuart Hillard is on a mission to help quilters all over the world
realize their quilting dreams and prove it ain t what you do, it s the
way that you do it one simple shape at a time. In the follow-up title
to the bestselling Use Scraps, Sew Blocks, Make 100 Quilts, Stuart
shows you how the easiest of shapes can make extraordinary quilts. The
book is divided into five main pattern chapters:
Simple Shapes Stunning Quilts teaches you the basics of quilt design; this book is packed full of pattern blocks that use the simplest shapes in order to build up your quilt. Each of the 100 blocks can be used to make one of Stuart s quilt designs. Alternatively, quilters can adapt any of the pattern blocks; they can personalize treatments, colours and arrangements, add extra borders, and more. Making your own design is as easy as 1, 2, 3;
1. Select a simple shape to work with.
2. Sew the shapes together to make the pattern block.
3. Repeat the block to build up the full, stunning quilt.
Alongside the patterns, and quilt design, Stuart has drawn on years of teaching experience to include the ultimate quilting hacks, tips and tricks, as well as his rules for successful quilting. The techniques chapter cover basic skills, design skills, cutting skills, paper piecing, easy appliqué techniques and advice on how to add border and binding with the help of step-by-step photographs. This book is perfect for beginners attempting their first quilt, and experienced quilters looking for new inspiration. Stuart s designs and irresistible enthusiasm reveal the power of simple shapes and will inspire you to make spectacular quilts your way.
In the past two decades, scholarly assessment of the Bayeux Tapestry has moved beyond studies of its sources and analogues, dating, origin and purpose, and site of display. This volume demonstrates the value of more recent interpretive approaches to this famous and iconic artefact, by examining the textile's materiality, visuality, reception and historiography, and its constructions of gender, territory and cultural memory. The essays it contains frame discussions vital to the future of Tapestry scholarship and are complemented by a bibliography covering three centuries of critical writings. Martin K. Foys is Professor of English at University of Wisconsin-Madison; Karen Eileen Overbey is Associate Professor of Art History at Tufts University; Dan Terkla is Professor of English at Illinois Wesleyan University. Contributors: Valerie Allen, Richard Brilliant, Shirley Ann Brown, Elizabeth Carson Pastan, Madeline H. Cavines, Martin K. Foys, Michael John Lewis, Karen Eileen Overbey, Gale R. Owen-Crocker, Dan Terkla, Stephen D. White.
Use spunbonded fabrics to create stunning effects that cannot be achieved with any other manmade or natural fibres. Covers a range of exciting fabrics, from Tyvek to Lutradur, plus new fabrics such as Evolon and heat-distressable tissue. Fabrics can be washed, dyed, painted, printed, stitched, burned, fused, foiled, stencilled and slashed to create beautiful and innovative effects. Lutradur and Evolon belong to a category of manmade fabrics called spunbonded textiles. They have been available for a few years, but the explosion of their use in the textile world is very recent. They are spunbound, non-woven polyesters, which are very strong and flexible, but soft to the touch and ideal for textile art. All the different types of spunbonded textiles are covered including Lutradur, Evolon, heat-distressable tissue and some older textiles in this category, such as Tyvek, nappy (diaper) liner and kunin felt. The author introduces a range of simple colouring techniques, from painting and printing to dyeing. The book then guides you through heat-distressing, fusing and soldering techniques for which these spunbonded textiles are perfect. The other popular technique - image transfer - is also made simple with these manmade fabrics. Other techniques explained, step-by-step, include foiling and stamping. An essential book for all textile artists who want new and exciting ideas on how to use these versatile textiles.
Quilts and Human Rights offers a new understanding of the history of global human rights as seen through textiles of awareness and activism. Of all the textile forms linked to human rights activities, one form-the quilt-has proved an especially potent and popular form for individuals, working alone or as part of organized groups, to subversively or overtly act for human rights. Through a description of this activity over time and space, Quilts and Human Rights advances awareness of critical human rights issues: suffrage, race relations, civil wars, natural disasters, HIV/AIDs, and ethnic, sexual, and gender discrimination. Quilts and Human Rights pays tribute to the individuals who have used needle skills to prick the conscience and encourage action against human rights violations.
This book offers a whistle-stop guide to the history of spinning and weaving. The story begins in prehistory when people first wove yarns to create clothing and blankets. The book explores the ways in which spinning and weaving has continued to be important throughout human history (or should that be herstory), in artistic, economic and functional terms. The second part of the book brings us up to date, via interviews with modern day spinning and weaving artisans. These textiles artists generously allowed the author a window into their studios and discussed the way they use and adapt traditional methods, techniques and tools for the twenty first century. Photos of their work, and their working environment offers a unique view into the world of this ancient craft. Finally, if you are inspired to try your hand at this fascinating and most ancient of crafts, the book also has a resources section. It includes a valuable list of suppliers of fibre, dyes, tools and yarn, as well as information about training courses, useful websites and more - everything you need to get started.
Tapestries have been an enigmatic form of artwork for hundreds of years, with woven narratives stretching across the centuries. However, much about their history remains shrouded in mystery. Why were they made? Who were they for? Why do they so often look blue? In this detailed introduction to the history of tapestries, Rosita Sheen answers these and other questions about these masterpieces of the past, as well as exploring the continued development of the art form in modern times. To this day, tapestries continue to be woven by talented amateurs in their homes - perhaps using little more than wool and an old picture frame; and there are also highly skilled people in studios and workshops across Europe producing vibrant, modern designs to decorate twenty-first century homes, offices and buildings.
The Bayeux Tapestry is one of the most extraordinary artefacts to survive from the eleventh century. A fragile web of woollen thread on linen, its brilliant colours undimmed after nearly a thousand years, this masterpiece is unique as a complete example of an art form beloved of the aristocracy in the Romanesque era - the historiated' or narrative embroidery. The momentous story it tells is that of one of the turning-points in English and European history, the struggle for the succession to the English throne which culminated in the Battle of Hastings in the fateful year of 1066. The version told is that of the Normans who commissioned it - of Harold's perjury and its dreadful price, death and defeat in battle. Yet the sympathies of the English hands that designed and created it are equally evident. And the Tapestry itself is so close to the events it describes, and portrays them in such vivid detail, as to make it in its own right a historical source of the first order, not only for the political crisis of 1064-66 but also for the social history of eleventh-century life.This book presents a full-colour reproduction of the entire Tapestry, with a detailed commentary alongside each episode, equipping the reader to follow the story blow by blow and this marvellous work of art step by step. In addition, a preliminary study sets the Tapestry in its artistic, cultural and historical context. The late Lucien Musset, Emeritus Professor of the University of Caen, studied the Tapestry of nearby Bayeux for nearly fifty years. This erudite but highly readable survey distils a lifetime's scholarship into a wise and impeccably researched synthesis which enables the modern reader to appreciate what the Tapestry meant in the context of its time, at the start of the last millennium.
The Bayeaux Tapestry is unique both as a historical document and as a work of art. It was made soon after the Battle of Hastings in 1066, and it tells the story of the events that led up to William the Conqueror's invasion of England and the battle itself.
Some Kind of Duty features all new handmade weavings by Chicago-based artist Karolina Gnatowski, known as kg. In monumental and small-scale tapestries, kg, anAmerican artist who was born in Poland incorporates references ranging from Polish immigration, badminton, Jim Morrison, and feminist fiber artists to addiction, mourning, and their pet. The artist's keen attention to the details of life's coincidences and moments of intersection finds a fitting form in their reverence for the history of tapestry weaving, and the evidence of everyday life incorporated into the artist's work makes their weavings an offering to those both living and dead. This catalog accompanies an exhibition at the DePaul Art Museum, and it features full-color plates of the works on view, an interview between the artist and DPAM Director and Chief Curator Julie Rodrigues Widholm, an essay by K. L. H. Wells, assistant professor in the Department of Art History at the University of Wisconsin-Milwaukee, and poems written by the artist to accompany each work.
Quilts have become a cherished symbol of Amish craftsmanship and the beauty of the simple life. Country stores in Lancaster County, Pennsylvania, and other tourist regions display row after row of handcrafted quilts. In luxury homes, office buildings, and museums, the quilts have been preserved and displayed as priceless artifacts. They are even pictured on collectible stamps. Amish Quilts explores how these objects evolved from practical bed linens into contemporary art. In this in-depth study, illustrated with more than 100 stunning color photographs, Janneken Smucker discusses what makes an Amish quilt Amish. She examines the value of quilts to those who have made, bought, sold, exhibited, and preserved them and how that value changes as a quilt travels from Amish hands to marketplace to consumers. A fifth-generation Mennonite quiltmaker herself, Smucker traces the history of Amish quilts from their use in the late nineteenth century to their sale in the lucrative business practices of today. Through her own observations as well as oral histories, newspaper accounts, ephemera, and other archival sources, she seeks to understand how the term "Amish" became a style and what it means to both quiltmakers and consumers. She also looks at how quilts influence fashion and raises issues of authenticity of quilts in the marketplace. Whether considered as art, craft, or commodity, Amish quilts reflect the intersections of consumerism and connoisseurship, religion and commerce, nostalgia and aesthetics. By thoroughly examining all of these aspects, Amish Quilts is an essential resource for anyone interested in the history of these beautiful works.
Part of a comprehensive catalog of the International Quilt Study Center and Museum collection, American Quilts in the Industrial Age, 1760-1870 highlights the dazzling designs and intricate needlework of America's treasured material culture. From whole cloth to pieced quilts to elaborate applique examples, all reflecting various design movements such as Neoclassicism and Eastern exoticism, the contributing authors address the development of quilt making in America from its inception in the 1700s to the period of the U.S. Civil War. Covering more than one hundred years of quilt making, this volume examines the period's quilts from both an artistic and a historical perspective. The contributors provide critical information regarding the founding of the republic and the influential republican values and ideals manifested in the quilts of this era. They also address the role that immigration and industrialization played in the evolution of materials and styles. With full-color photographs of nearly six hundred quilts, American Quilts in the Industrial Age, 1760-1870 offers new insights into American society.
Telling a story of class and taste, aspiration and identity, tapestry series 'The Vanity of Small Differences' saw Turner Prize-winning artist Grayson Perry travel the length and breadth of the UK, "on safari amongst the taste tribes of Britain". The result is a monumental exploration of the "emotional investment we make in the things we choose to live with, wear, eat, read or drive." The six vibrant and highly detailed tapestries presented here bear the influence both of early Renaissance painting and of William Hogarth's moralising series, literally weaving characters, incidents and objects from the artist's research into a modern-day version of 'A Rake's Progress' (1733). Featuring essays by journalist Suzanne Moore ('Guardian', 'The Mail') and Grayson Perry, alongside extensive commentary on each of the tapestries and their making, this book is an essential companion to one of the key contemporary art works of the last decade.
Around 1515, Raphael (1483-1520) designed a set of tapestries for Leo X, the first Medici pope. Each was sumptuously woven in gold, silver, and silk, and depicted scenes from classical mythology with inventive grotesques. Now lost, these spectacular, grand-scale textiles are reconstructed in Raphael's Tapestries and set among a series of unprecedented decorative projects that Pope Leo commissioned from the artist. Likely produced by the Brussels weaver Pieter van Aelst, the tapestries pioneered a new all'antica style analogous with contemporary painted and sculpted interior programs. Tapestries played a central role at Leo's court, as spectacle and as propaganda, and the Grotesques of Leo X would inform tapestry design for the next three centuries. Their beauty and complexity rivaled those of contemporary painting, and their luxurious materials made them highly prized. With this new study, the Grotesques take their rightful place as Renaissance masterworks and as documents of the fervent humanist culture of early 16th-century Rome.
The whimsical imagery of four tapestries in the permanent collection of the J. Paul Getty Museum and currently on display at the Getty Center is perplexing. Created in France at the Beauvais manufactory between 1690 and 1730, these charming hangings, unlike most French tapestries of the period, appear to be purely decorative, with no narrative thread, no theological moral, and no allegorical symbolism. They belong to a series called the Grotesques, inspired by ancient frescos discovered during the excavation of the Roman emperor Nero's Domus Aurea, or Golden House, but the origins of their mysterious subject matter have long eluded art historians. Based on seven years of research, Conundrum: Puzzles in the Grotesques Tapestry Series reveals for the first time that the artist responsible for these designs, Jean-Baptiste Monnoyer (1636-1699), actually incorporated dozens of motifs and vignettes from a surprising range of sources: antique statuary, Renaissance prints, Mannerist tapestry, and Baroque art, as well as contemporary seventeenth century urban festivals, court spectacle, and theater. Conundrum illustrates the most interesting of these sources alongside full-color details and overall views of the four tapestries. The book's informative and engaging essay identifies and decodes the tapestries' intriguing visual puzzles, enlightening our understanding and appreciation of the series' unexpectedly rich intellectual underpinnings.
The title is also available in English Ever since it came to the world's attention in the 17th century, the world's most famous tapestry has been a source of never-ending speculation. This book highlights the background of its construction and the events of 1066 that it portrays. It details warfare and weaponry, armour and costumes, depictions of everyday life, houses and farming
Luxurious, beautiful, and portable, tapestry was the pre-eminent art form of the Tudor court. Henry VIII amassed an unrivaled collection over the course of his reign, and the author weaves the history of this magnificent collection into the life of its owner with an engaging narrative style. Now largely dispersed or destroyed, Henry's extensive inventory is here reassembled and reveals how, through tapestry, Henry identified himself with historic, religious, and mythological figures, putting England in dialogue--and competition--with the leading courts of Early Modern Europe while promoting his own religious and political agendas at home. Campbell's original account sheds new light on Tudor political and artistic culture and the court's response to Renaissance aesthetic ideals. Sumptuously illustrated with newly commissioned photographs, this stunning re-creation of Europe's greatest tapestry collection challenges the predominantly text-driven histories of the period and offers a fascinating new perspective on the life of Henry VIII.
Ottoman Dress and Design in the West is a richly illustrated exploration of the relationship between West and Near East through the visual culture of dress. Charlotte Jirousek examines the history of dress and fashion in the broader context of western relationships with the Mediterranean world from the dawn of Islam through the end of the twentieth century. The significance of dress is made apparent by the author's careful attention to its political, economic, and cultural context. The reader comes to understand that dress reflects not simply the self and one's relation to community but also that community's relation to a wider world through trade, colonization, religion, and technology. The chapters provide broad historical background on Ottoman influence and European exoticization of that influence, while the captions and illustrations provide detailed studies of illuminations, paintings, and sculptures to show how these influences were absorbed into everyday living. Through the medium of dress, Jirousek details a continually shifting Ottoman frontier that is closely tied to European and American history. In doing so, she explores and celebrates an essential source of influence that for too long has been relegated to the periphery.
This collection of essays explores how the body became a touchstone for late antique practice and the religious imagination. When we read the stories and testimonies of late ancient Christians, what different types of bodies stand before us in such stories and what do they tell us? How do we understand the range of bodily experiences--solitary and social, private and public--that clothed ancient Christians? How might such experiences and the body as garb itself serve as a productive metaphor by which to explore this attention to matters of gender, religious identity, class, and ethnicity? The essays in this book explore these and related questions through stories from the eastern Christian world of antiquity: monks and martyrs, families and congregations, and textual bodies from antiquity subject to modern interpretations.
Published on the occasion of an important international loan exhibition at The Azerbaijan Carpet Museum in Baku, this multi-author book is much more than a mere catalogue. Written by a team of international museum professionals and independent scholars, it is the first co-ordinated and detailed study of the West Caspian region's characteristic silk embroideries. The book traces the history of embroidery in the Caucasus, the multi-cultural sources of domestic embroidery iconography and designs in which the textile traditions of the Iranian and Turkic worlds meet, materials and needlework techniques, as well as the relationship between embroidery and the pile carpet weaving tradition in the region.
When the Apollo astronauts went to the moon, the whole world watched. When the Fly Me to the Moon art quilt challenge went out, it went global. This book showcases the curated results of that call for entries: 179 art quilts by over 130 artists from 8 countries, expressing their interpretation of the space program and all things lunar. Walk down memory lane or discover the story of the missions for the first, but most importantly, enjoy a trip to the moon and beyond without the time and rigors of space training. As you travel into space, meet the astronauts, hum the tunes, and listen to the artists tell you about their pieces. Find endless inspiration and discover what the moon is really made of: cotton, thread, crystals, paint, ink, tulle, and crocheted lace.
"Marseille: The Cradle of White Corded Quilting," which accompanies an exhibition of the same name, traces the origins and the commercial development of "broderie de Marseille" needlework. During the seventeenth century these supple, all-white corded and quilted furnishings--from bedcovers to quilted bodices and caps--grew out of the thriving textile trade centered on France's Mediterranean port of Marseille as adaptations of popular foreign textile products. "Broderie de Marseille" is a form of three-dimensional textile sculpture using plain white cloth and white cotton cording, deftly manipulated with needle and thread to reveal patterns highlighted by the resulting play of light and shadow on the textile surface. Skillful execution of "broderie de Marseille" resulted in delicate, refined work that graced the homes and figures of aristocrats and launched a worldwide passion for all-white corded needlework. The quilted works were filled with imagery expressing contemporary cultural values, such as folk legends, heraldic devices and royal monograms (bedcovers), and floral wreaths and fruits symbolizing good fortune and fertility (wedding quilts). Contemporary versions, today often referred to commercially as "matelasse," are machine made and thus lack the personal skills and intimate connections to the work represented by the confections of the original needleworkers. In this richly illustrated monograph Kathryn Berenson has exhaustively researched the fascinating story through a broad range of historical records, including household inventories, letters, commercial documents, and literary references.
The Bayeux Tapestry is a fine 11th century master-piece which has proved of exceptional documentary value towards our current knowledge of the period. When discovering the tapestry for the first time, visitors simply marvel at the great diversity of characters, clothes, buildings, ships and other features it portrays, literally losing themselves in what could be considered as the world's very first comic strip, dating from the Middle Ages. Comic strips have, of course, moved on with their balloons, onomatopoeia and a number of specific terms used in this 8th century art, such as foreground, angle shot, framing, dialogues; very much the same words as those used in cinema. Gilles Pivard and Arthur Shelton are delighted to present a compilation of this great fresco in a somewhat more contemporary comic strip style. However, to ensure that the work's authenticity remains intact, neither its illustrations nor its historical contents have been altered. The authors'aim is to offer a clear and comprehensive interpretation of this epic adventure for the largest possible readership. They sincerely hope that this book will incite readers to further explore the fascinating story of William the Conqueror, the history of the Bayeux Tapestry, or even history in general.
Meticulously woven by hand with wool, silk, and gilt-metal thread, the tapestry collection of the Sun King, Louis XIV of France, represents the highest achievements of the art form. Intended to enhance the king's reputation by visualizing his manifest glory and to promote the kingdom's nascent mercantile economy, the royal collection of tapestries included antique and contemporary sets that followed the designs of the greatest artists of the Renaissance and Baroque periods, including Raphael, Giulio Romano, Rubens, Vouet, and Le Brun. Ranging in date from about 1540 to 1715 and coming from weaving workshops across northern Europe, these remarkable works portray scenes from the bible, history, and mythology. As treasured textiles, the works were traditionally displayed in the royal palaces when the court was in residence and in public on special occasions and feast days. They are still little known, even in France, as they are mostly reserved for the decoration of elite state residences and ministerial offices. This catalogue accompanies an exhibition of fourteen marvelous examples of the former royal collection that will be displayed exclusively at the J. Paul Getty Museum at the Getty Center from December 15, 2015, to May 1, 2016. Lavishly illustrated, the volume presents for the first time in English the latest scholarship of the foremost authorities working in the field.
A powerful way to celebrate the 70th anniversary of the United Nations Human Rights Declaration, this book reminds us of its impact and each of its 30 principles, using intriguing art quilts. Sometimes taking us by surprise, the 75 textile artists visualize the global struggle for human rights with their interpretations of the Declaration, ratified in 1948, which represents the first global expression of rights to which all human beings are innately entitled. The 91 works' themes include the first recorded initiation of human rights in Persia in 539 BCE, the plight of child soldiers and child brides, unlawful incarceration, the right to privacy, fair labor practices, torture, and the right of all world citizens to food, education, shelter, and healthcare. Together with the text of each Rights Declaration article, a message from the artist explains each quilt's inspiration and meaning.
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