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The Hunt of the Unicorn: Tapestry Copies Made for Stirling Castle, Scotland
The Hunt of the Unicorn: Tapestry Copies Made for Stirling Castle, Scotland by Amy Beingessner A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in Art History and Visual Culture Guelph, Ontario, Canada © Amy Beingessner, May, 2015 ABSTRACT THE HUNT OF THE UNICORN: TAPESTRY COPIES MADE FOR STIRLING CASTLE, SCOTLAND Amy Beingessner Advisor: University of Guelph, 2015 Professor S. A. Hickson In 2014 the West Dean Tapestry Studio in England completed a commission for Historic Scotland, an agency of the Scottish government, to reproduce the late fifteenth-century Hunt of the Unicorn tapestry series on permanent display at the Cloisters Museum in New York City. The purpose of Historic Scotland’s reproductions is to heighten the tourist’s experience of authenticity in the Renaissance apartments at Stirling Castle, Scotland. This thesis explores Historic Scotland’s decision to reproduce The Hunt of the Unicorn tapestries for the renovation of Stirling Castle’s royal apartments, and how this representation of Scottish heritage and identity challenges traditional boundaries of authorship and authenticity. Applying the concept of the simulacrum, specifically through the writing of Jean Baudrillard and Gilles Deleuze, the Unicorn tapestries are analyzed based on the contexts and authorities that inform perceptions of their status as either copies or originals, revealing authenticity to be a perceived construction. iii Table of Contents Page List of Illustrations ...................................................................................................... -
Traditional Motifs, Techniques
AN ABSTRkCTABTRkCT OF T1ET1E TffESITffEI OF Nona JeanJean NelsonNelson ror for the the IVI. M. S.8,in. Clothing, Textiles, and. Related Arts Date thesis is presented Ju1yuly 23,23, 19571957 Title The InfluenceInfluence orof Swedish,Swedish, Finnish,Finnish, and.and DanishDanish Textiles on Contemporary Americanerican Fabrics Abstract approvedapproved ',,',Signature redacted for privacy. ScandinaviScandinavian textiles have played an importantimportant partpart in the ramilyfamily life of the Nordic people. During the evenings, members orof a ramilyfamily worked on textiles and wove colors anand designs of the countryside and o1of the ramilyfamily lirelife into their rabrics.fabrics. Traditional motifs,moti1s, techniques,techniques, and color combinationscombinations werewere developeddeveloped andand passed.passed down through the years fromfrom familyfamily toto family. The techniques orof weaving Scandinavian textiles may may be divided into groupsgroups accordingaccording to to thethe method used. used in weaving the fabrics.rabrics.These groups are tapestry weaves, pile-knot weaving,weaving, r1ishingflushing weaves,weaves, plainplain weaves,weaves, and.and other weaves which willwill not fitfit intointo a particular group- ing. Each group hashas characteristiccharacteristic motirs,motifs, colors,colors, and.and yarn content. Many techniques are centuries old. Scandinavian craft craft societiessocieties are responsible rorfor thethe revival of handcraftshandcrafts arterafter thethe industrialindustrial revolu.tion.revolution. These -
Het Tapissierspand: Interpreting the Success of the Antwerp Tapestry
Het Tapissierspand: Interpreting the Success of the Antwerp Tapestry Market in the 1500s by Allison Celia Evans Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Hans Van Miegroet, Supervisor ___________________________ Neil De Marchi ___________________________ Thomas Robisheaux ___________________________ Filip Vermeylen Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2012 ABSTRACT Het Tapissierspand: Interpreting the Success of the Antwerp Tapestry Market in the 1500s by Allison Celia Evans Department of Art, Art History and Visual Studies Duke University Date:_______________________ Approved: ___________________________ Hans Van Miegroet, Supervisor ___________________________ Neil De Marchi ___________________________ Thomas Robisheaux ___________________________ Filip Vermeylen An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art, Art History and Visual Studies in the Graduate School of Duke University 2012 Copyright by Allison Celia Evans 2012 Abstract During the 1550s, a warehouse was constructed in Antwerp with funds from both the city government and a private investor. This building, the Tapissierspand, became the global center for selling and distributing tapestries of extraordinary beauty, exquisite craftsmanship, and exorbitant cost. The construction of the building indicates that the very nature of how tapestries were made and purchased was changing in the 1550s. Although Antwerp’s fairs had long been convenient locations for agents to find luxury items that might please their wealthy clients, like with many luxury trades, tapestry sales were shifting from strictly commissioned sales to include on spec sales. -
Subject Index: First Twenty-Five Years 1979–2004
SUBJECT INDEX: FIRST TWENTY-FIVE YEARS 1979–2004 Blanket.” SO93: pp. 64, 91. [8] Kaulitz, Manuela. “Blanket Weave.” Schomp, Halcyon; Jaeger, Hector. KEYS Collard, Terry. “Weekend Weaver: A SO93: pp. 69–71, 94; errata “Sunny Skies Picnic Blanket.” Issue abbreviations Family Blanket for When You’re ND93: p. 77. [8] Su84: pp. 69, 106, 108. [4] 1979–1982 Home Alone.” ND03: pp. 64–66. Kolhonen, Faye. “Faye’s Rainbow Scorgie, Jean. “Tämä on Ihana!” FW = Fall/Winter [4, 8] Cover-Up.” SO88: pp. 24, 92. JF86: pp. 44–45, IS: 7. [4] SS = Spring/Summer Croghan, Joanne. “What’s Black and [2, 4] Sheeran, Pat. “Exploring Color.” Ja = January White and Red All Over?” LaLena, Constance. “Fabrics for an ND88: pp. 45, 76. [4] Mr = March JF92: pp. 47, 82–83. [2, 8] Eccentric Den.” JF90: Sheret, Pat. “Keep it Simple: Wool and My = May Curran, Fran. “A Throw from pp. 88–91, 85–87; errata MJ90: Mohair Throw.” ND85: p. 59. [4] Se = September Leftover Yarn.” SO95: p. 97. [2, 4, 5] Snover, Susan. “Wooly Wrap-Up Nv = November pp. 66–67, 89. [8] __. “Fabrics for Interiors: Accent Throw.” JF85: pp. 62–63. [2, 4] Davenport, Betty. “Large Cloths from Pieces to Chase the Winter Steinkoenig, Judy. “Beechwood From 1982 to the present Small Looms.” JF87: pp. 72–73, Blahs.” JF88: pp. 88–90, Throw.” MA84: pp. 58, 97. [4] JF = January/February IS: 13–14. [RH, 2] IS: 13–14. [2, 4, 8] Stratton, Gretchen. “Classic Plaid MA = March/April Dobrovolny, Ardis. “Woodtones Log Lanning, Gwen. “Winter Roses Throw.” JF99: pp. -
The Social Lives of Medieval Romance
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Luxury, Aesthetics And Politics: The Social Lives Of Medieval Romance Lydia Yaitsky Kertz University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Aesthetics Commons, Medieval Studies Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kertz, Lydia Yaitsky, "Luxury, Aesthetics And Politics: The Social Lives Of Medieval Romance" (2016). Publicly Accessible Penn Dissertations. 2385. https://repository.upenn.edu/edissertations/2385 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2385 For more information, please contact [email protected]. Luxury, Aesthetics And Politics: The Social Lives Of Medieval Romance Abstract This dissertation project traces a cultural reception of the romance genre in England and France in the late fourteenth century. In compiling lengthy descriptions of courtly trappings, medieval romances serve as vehicles for idealized aristocratic self-presentation and thereby become complicit in associating material luxury with aristocratic power. I argue that while the changes in material technologies of medieval textual production break down the exclusivity of romance by opening the texts to wider reading publics, the positive representations of luxury in verbal ornament and visual programs of narrative art objects continue the perpetuation of aristocratic privilege. Chapter One examines the Shield of Gawain in Sir Gawain and the Green Knight and the Trojan image-texts in Chaucer’s House of Fame as imitatio of Virgilian ekphrases, theorizing medieval understanding of a Greek poetic device. Chapter Two analyzes the Tryst beneath the Tree episode from Tristan and Isolde as it is rendered on fourteenth-century Parisian ivory caskets, situating the composition within the larger visual program that teaches aristocratic women about heterosexual desire through a negotiation of sight and touch. -
Textiles, Costume & Fashion
Textiles, Costume & Fashion with Important Groups of Books on Central Asian & Indian Textile Traditions The Research Library of Dr. Louise Mackie Former Curator of Textiles, the Cleveland Museum of Art 1,185 titles in over 1,250 volumes The Library of Dr. Louise Mackie The Mackie Library consists of some 1,250 volumes covering all aspects of the study of textiles, of all periods and on an international basis, including weavings, embroideries and needlework, lace, printed fabrics, velvets, brocades, batik, ikat and other categories, as well as costume & fashion, carpets & rugs, and tapestry. Aside from its representation of the history of Western textiles, the library also has exceptional depth in its holdings on the textiles of Central Asia and India. Dr. Louise Mackie recently retired as curator of the Department of Textiles and Costume, Cleveland Museum of Art. Previously, she was the department head and curator of the Textile and Costume Department at the Royal Ontario Museum in Toronto, Canada (1981-98). She was Curator of the Eastern Hemisphere Collections Textile Museum in Washington, DC (1971-80) where she trained in textiles and carpets under Irene Emery and Charles Grant Ellis. Louise Mackie Louise Mackie’s leadership as a founding director and past President of TSA (1996-1998), along with her curatorial work in the subject of Islamic textiles has contributed enormously to the textile field. Her research directives, field work, curatorial focus on the details of textile making and meaning from a broad perspective has brought new insight, documentation and understanding of the intricacies, beauty and power of textiles from the Islamic world. -
INTERVENTIONS NEW STUDIES in MEDIEVAL CULTURE Ethan Knapp, Series Editor
INTERVENTIONS NEW STUDIES IN MEDIEVAL CULTURE Ethan Knapp, Series Editor All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. THE ART of VISION T Ekphrasis in Medieval Literature and Culture Edited by ANDREW JAMES JOHNSTON, ETHAN KNAPP, and MARGITTA ROUSE THE OHIO STATE UNIVERSITY PRESS COLUMBUS All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Copyright © 2015 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The art of vision : ekphrasis in medieval literature and culture / edited by Andrew James John- ston, Ethan Knapp, and Margitta Rouse. pages cm — (Interventions: new studies in medieval culture) Includes bibliographical references and index. ISBN 978-0-8142-1294-3 (cloth : alk. paper) 1. Ekphrasis. 2. Literature, Medieval--History and criticism. 3. Description (Rhetoric)—His- tory—To 1500. I. Johnston, Andrew James, editor. II. Knapp, Ethan, 1966– editor. III. Rouse, Margitta, 1970– editor. IV. Series: Interventions (Columbus, Ohio) PN682.E46A78 2015 809'.02—dc23 2015019905 Cover design by Mia Risberg Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 All Rights Reserved. Copyright © The Ohio State University Press, 2015. Batch 1. Contents Acknowledgments vii INTRODUCTION THE DYNAMICS OF EKPHRASIS Andrew James Johnston, Ethan Knapp, and Margitta Rouse 1 PART I EKPHRASIS AND THE OBJECT 1 EKPHRASIS AND THE OBJECT Valerie Allen 17 2 MULTILINGUAL LISTS AND CHAUCER’S “THE FORMER AGE” Sarah Stanbury 36 3 SPEAKING IMAGES? ICONOGRAPHIC CRITICISM AND CHAUCERIAN EKPHRASIS John M. -
Its Influence on Australian Woven Tapestry 1976-1996 Valerie Kirk University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 Scottish tapestry tradition, technique, narrative and innovation: its influence on Australian woven tapestry 1976-1996 Valerie Kirk University of Wollongong Recommended Citation Kirk, Valerie, Scottish tapestry tradition, technique, narrative and innovation: its influence on Australian woven tapestry 1976-1996, Master of Arts thesis, , University of Wollongong, 1999. http://ro.uow.edu.au/theses/2182 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. SCOTTISH TAPESTRY TRADITION, TECHNIQUE, NARRATIVE AND INNOVATION: ITS INFLUENCE ON AUSTRALIAN WOVEN TAPESTRY 1976-1996. A thesis submitted in partial fulfilment of the requirements for the award of the degree MASTER OF ARTS (HONOURS) 1999 from UNIVERSITY OF WOLLONGONG by VALERIE KIRK Diploma of Art and Design, Edinburgh College of Art, 1978 Post Graduate (Tapestry), Edinburgh College of Art, 1979 Art Teachers' Certificate, University of London, 1980 Certification I certify that this work has not been submitted for a degree to any other university or institution and to the best of my knowledge and belief, contains no material previously published or written by any other person except where due reference has been made in the text Valerie Kirk August 24 1999. Abstract This thesis researches the history and traditions of Scottish tapestry from its roots in the Arts and Crafts Movement when the Edinburgh Tapestry Company was set up in 1912, through the depressed war years to a flourishing in the 1960s and 1970s. It examines technique and a narrative approach to the medium which was developed by William Morris from his study of medieval tapestries.