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And the Cranbrook Experience Jennifer L. Lindsay Submitted in Partial Fulfillment

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And the Cranbrook Experience Jennifer L. Lindsay Submitted in Partial Fulfillment Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23 Section 1. Studio Loja Saarinen: The Genesis of Weaving at Cranbrook........... 24 Section 2. Marianne Strengell: Weaving and Textiles for a New Generation..... 28 A. Developing a Modern Curriculum in Weaving and Textiles............... 28 B. The Department of Weaving and Textiles at Cranbrook, 1944-1961.. 32 CHAPTER 2. MARY WALKER PHILLIPS AND THE CRANBROOK EXPERIENCE .................................................................................................................. 41 Part 1. The Early Years..................................................................................................... 41 Section 1. Traditional Tastes and Contemporary Influences................................ 41 Section 2. “Cranbrook is the Place for Me”.......................................................... 47 Section 3. Cranbrook in the Forties ...................................................................... 49 Section 4. Cranbrook 1946-1947: Weaving and Textiles..................................... 51 Section 5. Designer of Hand Woven Textiles, 1947-1959 ................................... 58 Part 2. From Weaving into Knitting: Return to Cranbrook, 1960-1963........................... 72 i Section 1. Beyond Weaving: Cranbrook’s Shift from Industry into Art Fabric.. 72 Section 2. New Techniques in the Weaving Program: Spinning and Dyeing ...... 77 Section 3. B.F.A. Thesis, “Wool”......................................................................... 80 Section 4. M.F.A. Thesis: “Experimental Fabrics” .............................................. 97 Section 5. Other Subjects.................................................................................... 122 A. Ceramics............................................................................................. 123 B. Matrix Study....................................................................................... 130 C. Metalsmithing..................................................................................... 135 CHAPTER 3. MARY WALKER PHILLIPS: “A KNITTER OF ART” ...................... 139 Part 1. Knitting as an Industrial Designer....................................................................... 140 Part 2. Knitting as a Studio Artist ................................................................................... 146 Part 3. “Creative Knitting: A New Art Form”................................................................. 155 CHAPTER 4. THREE WORKS BY MARY WALKER PHILLIPS ............................. 166 Part 1. The Kings, 1966, Cranbrook Academy of Art Museum, CAM #1992.19 .......... 169 Part 2. Shells, 1967, The Art Institute of Chicago, #1984.87 ......................................... 176 Part 3. Fans And Beads, 1974, #T.17765, Smithsonian National Museum of American History............................................................................................................................. 179 CONCLUSION............................................................................................................... 184 NOTES............................................................................................................................ 193 BIBILIOGRAPHY ......................................................................................................... 280 APPENDICES ................................................................................................................ 293 ILLUSTRATIONS ......................................................................................................... 332 ii LIST OF ILLUSTRATIONS 1. Eliel Saarinen, Dome, Cranbrook School Cupola, ca. 1929-30. Cranbrook School for Boys. Photo by Jennifer Lindsay. 2. Mary Walker Phillips, Fans And Beads, 1974. Knitted. Linen, tie-dyed (ikat), with mahogany beads, 26 x 31 inches. Smithsonian National Museum of American History, Washington, DC, #T.17765. Photo by Jennifer Lindsay. 3. Mary Walker Phillips, detail of an unidentified knitted wall hanging dated “July 1965.” Source: Courtesy of American Craft Council Library, American Craft Council College of Fellows Artist File Collection. 4. Mary Walker Phillips, detail, Royal Interlace, 1978. Knitted. Wool, silk, gold and silver thread. 44” x 24”. Source: Courtesy of American Craft Council Library, American Craft Council College of Fellows Artist File Collection. 5. Mary Walker Phillips, prototype wall covering, ca. 1966. Knitted. Paper twine, 33 ¼ x 20 ½ x ¼”. Museum of Art and Design, New York, #1992.113. Source: Mary Walker Phillips, Creative Knitting: A New Art Form (New York: Van Nostrand Reinhold, 1971), 115. 6. Mary Walker Phillips, unidentified knitted wall hanging of wire and metal bells. Source: Photo by Glen Kaufman. 7. Mary Walker Phillips, detail of unidentified wall hanging, dated “February 1968,” shows a mica disk inserted into a double-knit pocket. Source: Courtesy of American Craft Council Library, American Craft Council College of Fellows Artist File Collection. 8. Marquis Arch, entrance to the Cranbrook School for Boys. Photo by Jennifer Lindsay. 9. A resident gargoyle, Page Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 10. Right, Pergola, Marquis Hall Terrace, Cranbrook School for Boys. Eliel Saarinen’s signature fluted capitals show the strong influence of the Vienna Secession. Gargoyles ornament the wall of Page Hall, left. Photo by Jennifer Lindsay. 11. The Cranbrook School Cupola, Page Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 12. Gateway of Friendship, Cranbrook School for Boys. Photo by Jennifer Lindsay. 13. Dining Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 14. An example of Cranbrook’s rhythmically patterned brickwork. Photo by Jennifer Lindsay. 15. Entrance, Study and Library Hall, Cranbrook School for Boys. Photo by Jennifer Lindsay. 16. Nichols Gate, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 17. Two ornamental gates give access to private courtyards on the Cranbrook campus. Photo by Jennifer Lindsay. 18. Carl Milles, Siren with Fishes, installed ca. 1935 near the Art Academy and Administration Building. Photo by Jennifer Lindsay. 19. Saarinen House, 1930, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 20. Left, Studio Loja Saarinen, est. 1928, from across Academy Way. Source: Courtesy of Cranbrook Archives, Negative #3726. iii 21. Entrance to Studio Loja Saarinen, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 22. The Arts and Crafts Building and Maija Grotell Court, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 23. The Art Club and Men’s Dormitory, February 1934. Courtesy of Cranbrook Archives, Negative #2442. 24. The Women’s Dormitory and Art Academy Garage, November 4, 1940. Courtesy of Cranbrook Archives, Negative #5580-2. 25. Carl Milles, Orpheus, 1938, a fountain with bronze figures, Quadrangle, Cranbrook Art Museum and Library, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 26. Triton Pool with bronze figures by Carl Milles, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 27. Entrance to the Art Library, Cranbrook Academy of Art. Photo by Jennifer Lindsay. 28. Interior, Art Library, Cranbrook Academy of Art. Source: Henry S. Booth, The Saarinen Door: Eliel Saarinen Architect and Designer at Cranbrook (Bloomfield Hills, MI: Cranbrook Academy of Art, 1963), 42. 29. Kingswood School for Girls, 1929-31. Source: Henry S. Booth, The Saarinen Door: Eliel Saarinen Architect and Designer at Cranbrook (Bloomfield Hills, MI: Cranbrook Academy of Art, 1963), 26. 30. Dining Hall, Kingswood School for Girls, with Festival of the May Queen Tapestry by Studio Loja Saarinen, ca. 1932. Source: Henry S. Booth, The Saarinen Door: Eliel Saarinen Architect and Designer at Cranbrook (Bloomfield Hills, MI: Cranbrook Academy of Art, 1963), 28. 31. Logo, Studio Loja Saarinen, est. 1928. Source: Robert Judson Clark, et al., Design In America: The Cranbrook Vision 1925-1950 (New York: Harry N. Abrams, Inc. in association with The Detroit Institute of Arts and
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