20/04/2015 Slit Tapestry Red/Green

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Lucy Dean Exercise: ‘Exploring modern art’ 20/04/2015 Slit Tapestry Red/Green (detail), 1927-28, by Gunta Stolzl "Slit Tapestry Red/Green" is manufactured from cotton, silk and linen and was designed to be a stand-alone piece. This is one of her Once the weaving workshop had most important works as it was been divided into two separate inspired by Goblins tapestries- departments at the new premises in monumental, highly stylised and Dessau; it allowed the students to brightly coloured works produced in embrace the artistic potential of the France from 1662 onwards. medium and push the boundaries of design. Some of her textile designs reference the influence of Paul The use of red and green dyes Klee; a Bauhaus master who The striking abundance provides a pleasant contrast and sympathi sed with the difficulties of pink/ flesh tones the vertical forms help to balance faced by the textile students. contrasts beautifully with the composition. There are a wide- the other grey greens. variety of curvilinear forms, checks Her combination of and chevrons which add interest This hand-woven tapestry colours show evidence and elevate the status of the of her studies during the represent s Stolzl’s unique approach tapestry. This results in a piece to manufacturing her textile pieces. Vorkus preliminary which is dynamic and appears to Stripes, squares, rectangles and course which was run by have a life of its own. The piece free-form designs are her hallmark; the renowned artist also evokes the energetic as is a confident use of colour. Johannes Itten’s. atmosphere prevalent in the Bauhaus in this period. A high level of skill is required in She had a flair for colour which was order to achieve this effect on a evident in the work she produced Commissioned? Unknown. hand loom. during the preliminary course (the Similar examples by the same artist? Jacquard wall hanging "5 Chöre" and Jacquard Vorkus). wall hanging "Damast"- both examples feature bright colours and geometric forms. "The transfer to Dessau brought the weaving workshop new and healthier conditions. We were able to acquire the most varied loom systems (shaft machine, Jacquard loom, carpet- knotting frame) and in addition, our own dyeing facilities. From now on, there begins a clear and final distinction between two areas of education that initially were fused with each other: The 'development of functional textiles' for use in interiors (prototypes for industry) and 'speculative experimentation' with materials, form and colour in tapestries and carpets." (Bauhaus 1931) .

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