Download 2021 Catalog

Total Page:16

File Type:pdf, Size:1020Kb

Download 2021 Catalog ENTRYWAYS PRESENTS THE COLONIAL WILLIAMSBURG AND V&A DOORMAT COLLECTIONS bringing museums’ extraordinary collections to your doorsteps inspired by art & history 2021 DOORMATS COLLECTION Designed in collaboration with the V&A, the eight new doormats in Entryways’ V&A Collection echo the colorful and captivating artistic splendor found within the museum. 100% NATURAL COIR WITH BACKING 18" X 30" - SOLD IN CASE PACKS OF 4 24" X 36" - SOLD IN CASE PACKS OF 2 © Victoria and Albert Museum, London NEW V314 / V314-L Dianthus entrywaysusa.com • iucbrands.co • © 2021 IUC Brands 2 DOORMATS COLLECTION ALICE in WONDERLAND he new capsule collection of designs inspired by Alice’s Adventures in Wonderland Tis based on the original illustrations by Sir John Tenniel (1820–1914) for Lewis Carroll’s book, held in the V&A’s archives. Revisited in a fresh palette of pastel colours and with the addition of humorous quotes, these mats will add a lovely whimsical touch to any doorstep. V308 Queen of Hearts V307 Mad Hatter V309 Curiouser and Curiouser V310 Down the Rabbit Hole 3 p 609.704.9900 • f 908.345.5086 • [email protected] NEW V314 / V314-L Dianthus The beautiful carnation surrounded by leaves featured on this mat is inspired by an Arts and Crafts design held in the V&A’s archives. Compton was designed in 1895–6 for Compton Hall in Wolverhampton, England, the home of Laurence Hodson, and it was probably the result of a joint Compton furnishing fabric, J.H. Dearle (1859–1932), effort between William Morris (1834–96) England, 1896 and his assistant J.H. Dearle (1859–1932). NEW V311 / V311-L Love in a Mist The bold floral motifs of this mat are inspired by a popular wallpaper design from the V&A’s archives. Seaweed was designed by Morris & Co.’s Chief Designer John Henry Dearle (1859–1932) in 1901 and its intricate pattern of lush blooms and foliage is a celebration of nature as a perennial inspiration for Arts and Crafts artists. Seaweed wallpaper, J.H. Dearle (1859–1932), England, 1901 4 p: 609.704.9900 - f: 908.345.5086 - [email protected] entrywaysusa.com • iucbrands.co 4 V300 / V300-L This Is the Cat The motif on this mat is taken from an original furnishing fabric in the V&A collection by C.F.A. Voysey (1857–1941), one of the most original and influential architects and designers of all forms of The House that Jack Built furnishing fabric, decorative art working at the end of C.F.A. Voysey (1857–1941), England, about 1929 the 19th century. V302 / V302-L Espalier 5 p 609.704.9900 • f 908.345.5086 • [email protected] NEW V312 / V312-L Bamboo and Blossom The bamboo and blossom motifs featured on this mat are inspired by the embroidered and resist-dyed decoration of an exquisite 19th-century Japanese silk housed in the V&A’s East Asia collection. In Japanese symbolism, bamboo and plum blossoms are recurrent auspicious motifs, Bamboo and blossom embroidered silk, representing strength and renewal. Japan, 19th century V301 / V301-L Cranes Pair of cranes under a pine tree, Kishinami Ryukei (1855–1935), Japan, 1883 entrywaysusa.com • iucbrands.co - © 2021 IUC Brands 6 V306 / V306-L - Waves Waves ‘fusuma’ paper, Japan, 19th century THE V&A ACQUIRED ITS FIRST OBJECT FROM JAPAN in 1852 and has remained an avid collector ever since! It now holds the UK’s largest permanent display of Japanese art and design, housing objects from the 6th century to the present day. Offering a superb insight into a rich and wide array of Japanese art, the V&A highlights outstanding examples of woodblock ukiyo-e prints, V306 / V306-L Waves paintings and screens, sumptuous textiles beautifully dyed and embroidered, traditional netsuke skilfully carved, ceramics and lacquer, providing endless creative inspiration. The natural world has been revered for millennia and is central to the Japanese aesthetic. Landscapes, animals, floral motifs and stylised patterns inspired by nature are all distinctive traits of Japanese art across different mediums and often have complex levels of meaning, with strong auspicious connotations and poetic and mythological associations. Artists continue to work with nature and draw inspiration from the landscape around them. Entryways coir doormats explore the Japanese attitude to nature with these simple yet unique designs. 7 p 609.704.9900 • f 908.345.5086 • [email protected] Strawberry Thief furnishing fabric, William Morris (1834–96), England, 1883 THE V&A HOLDS ONE OF THE MOST COMPREHENSIVE collections of Arts and Crafts in the world. Highlights include jewelry, furniture, architectural drawings by Philip Webb, tiles by William De Morgan, and stunning wallpapers and textiles designed by leading exponents and key figures of the Movement, such as William Morris, J.H. Dearle and C.F.A. Voysey. V304 / V304-L Strawberry Thief The Arts and Crafts Movement emerged during the late Victorian period in England, as a reaction to not only the damaging effects of industrialization but also the relatively low status of the decorative arts. Arts and Crafts designers sought to improve standards of decorative design and believed that working collectively, a pride in the hand-made and a return to nature would enhance the lives of many and create a better society. entrywaysusa.com • iucbrands.co • © 2021 IUC Brands 8 The Movement may have emerged in the 1860s, but it has hardly fallen out of favor. The appreciation and desire for simple design, inspired by nature and in keeping with the rules of the Movement, reinforced by the highest standards of craftsmanship and quality materials, is just as relevant today. NEW V313 / V313-L Brother Rabbit This cute pair of rabbits hidden in vegetation are a motif taken from a furnishing textile by William Morris, held in the V&A’s archives. Designed between 1881 and 1882, Brother or Brer Rabbit shows a dense pattern of paired animals and fantastic foliage, illustrating Morris interest Brother Rabbit furnishing fabric, William Morris (1834–96), England, 1882 in medieval European textiles which he studied at the V&A. 9 p 609.704.9900 • f 908.345.5086 • [email protected] Deco motif, M.P. Verneuil (1869–1942), Paris, 1926 V305 / V305-L Art Deco V303 / V303-L Poppy Field Poppies dress fabric, Calico Printers’ Association, England, 1933 entrywaysusa.com • iucbrands.co • © 2021 IUC Brands 10 THE VICTORIA AND ALBERT MUSEUM (V&A) IS THE WORLD’S LEADING museum of art, design and performance. Founded in 1852 in London during the reign of Queen Victoria to make works of art available to all, today it provides a place of inspiration, discovery and learning through its mission to enrich lives through design. The museum’s 145 galleries display the finest examples of the decorative arts from textiles and ceramics to sculpture and photography. 11 p 609.704.9900 • f 908.345.5086 • [email protected] DOORMATS COLLECTION This collection takes a “Trend Meets Tradition” approach to design, with fresh colors and patterns inspired by the expansive archives of The Colonial Williamsburg Foundation. Each mat is made entirely by hand from 100% coir. 22" X 35", 1" THICK SOLD INDIVIDUALLY ©2021 The Colonial Williamsburg Foundation. WILLIAMSBURG is a trademark of The Colonial Williamsburg Foundation NEW 9127W Sunflower Blockprint entrywaysusa.com • iucbrands.co • © 2021 IUC Brands 12 DOORMATS COLLECTION NEW 9126W Blanket Chest Our “Blanket Chest” design takes inspiration from a dome-lid chest covered in wallpaper from the archives at Colonial Williamsburg. Chests, boxes, and hat boxes from the very late 18th and early 19th century that were used for storage of clothing and other personal belongings were often painted or covered in wallpaper like this example. NEW 9129W Portsmouth Pineapple Exotic and expensive, pineapples were an impressive offering to one’s guests in the 18th century. They soon became a symbol of hospitality and welcome throughout the world. 13 p 609.704.9900 • f 908.345.5086 • [email protected] NEW 9131W Flame Stitch Also known as bargello or Florentine stitch, traditional flame stitch needlework combines long, vertical stitches and bold colors into zigzagging peaks and valleys. NEW 9130W Home Again NEW 9127W Sunflower Blockprint Our Home Again doormat takes inspiration Sunflowers symbolize adoration, loyalty, from a late nineteenth-century red-and- and longevity. They originated in the white quilt found in the textile archives of Americas in 1,000 BC and were then the Colonial Williamsburg Foundation. As cultivated as a valuable food source for with so many quilt designs, it speaks of centuries. Artists throughout history have family, friends, memory, and tradition. loved the sunflower’s unique splendor. entrywaysusa.com • iucbrands.co • © 2021 IUC Brands 14 NEW 9128W Ahoy There In an era when goods were traded around the world by sea vessel, “shipping” took on a distinctive meaning—precious cargo that had survived perilous months on the ocean to reach consumers. Today, the lure of the sea remains the same, but sailing has become a much safer (and enjoyable!) pastime. 9103W Pineapple Trellis 9114W Star Quilt 15 p 609.704.9900 • f 908.345.5086 • [email protected] 9116W Topiary 9115W Tulip Damask 16 9119W Friends Gather Here 9120W Brie 9122W Braganza Stripe 9102W Magnolia Blossom 9121W Persian Medallion 17 f 908.345.5086 • [email protected] NEW 9133W Holiday Cardinal NEW 9132W Merry and Bright Star 9124W Joy entrywaysusa.com • iucbrands.co • © 2021 IUC Brands 18 9125W Pomegranates 9118W Home For The Holidays 9111W Berry Branch 9117W Dash Away All 19 p 609.704.9900 • f 908.345.5086 • [email protected] 1175 MARLKRESS ROAD UNIT 2120 CHERRY HILL NJ 08034 • IUCBRANDS.CO • SKEEMDESIGN.COM • ENTRYWAYSUSA.COM • DIVINEHOME.US • P 609.704.9900 • F 908.345.5086.
Recommended publications
  • Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
    Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T.
    [Show full text]
  • William Morris & Andy Warhol
    MODERN ART EVENTS OXFORD THE YARD TOURS The Factory Floor Wednesday 7 January, 1pm Wednesday to Saturday, 12-5pm, weekly Sally Shaw, Head of Programme at Modern Art Oxford For the duration of Love is Enough, the Yard will discusses the development of the exhibition and be transformed into a ‘Factory Floor’ in homage to introduces key works. William Morris and Andy Warhol’s prolific production techniques. Each week a production method or craft Wednesday 21 January, 1pm skill will be demonstrated by a specialist. Ben Roberts, Curator of Education & Public Programmes at Modern Art Oxford discusses The Factory Floor is a rare opportunity to see creative education, collaboration and participation in relation to processes such as metal casting, dry stone walling, the work of Morris and Warhol. bookbinding, weaving and tapestry. LOVE IS Wednesday 4 February, 1pm These drop-in sessions provide a chance to meet Paul Teigh, Production Manager at Modern Art Oxford makers and craftspeople working with these processes discusses manufacturing and design processes today. Please see website for further details. inherent in the work of Morris and Warhol. TALKS Wednesday 18 February, 1pm Artist talk Ciara Moloney, Curator of Exhibitions & Projects Saturday 6 December, 6pm Free, booking essential at Modern Art Oxford discusses key works in the ENOUGH Jeremy Deller in conversation with Ralph Rugoff, exhibition and their influence on artistic practices Director, Hayward Gallery, London. today. Perspectives: Myth Thursday 15 January, 7pm BASEMENT: PERFORMANCE A series of short talks on myths and myth making from Live in the Studio the roots of medieval tales to our collective capacity December 2014 – February 2015 for fiction and how myths are made in contemporary A short series of performance projects working with culture.
    [Show full text]
  • Caroline Arscott, Morris Carpets, RIHA Journal 0089
    RIHA Journal 0089 | 27 March 2014 | Special Issue "When Art History Meets Design History" Morris Carpets Caroline Arscott Editing and peer review managed by: Anne Puetz, The Courtauld Institute of Art, London and Glenn Adamson, Museum of Arts and Design (MAD), New York City Reviewers: Martina Droth, Jules Lubbock Abstract William Morris's carpet designs have been discussed in terms of design scheme, historical sources, naturalism and abstraction. This essay revisits some of these aspects in order to consider Morris's intimations of action. Action was associated by Morris with the pictorial and considered by him to be one of the great resources of oriental carpet design. The article considers the specific historical carpets with which Morris was familiar and discusses the terms used by Morris in assessing the intellectual and aesthetic value of historical carpets. It discusses the way that the knot in the fabric of the carpet might have been understood by Morris as analogous to knots and interlacements in the design. It goes on to propose that the knot was also understood in relation to linkages, contests, cultural exchange and forms of interconnection in human history. There is a discussion of common ground between Morris's discussion of ornament (in terms of cultural transmission) and ideas set out by Alois Riegl. The carpet Clouds, made by Morris & Co. in 1885 for Clouds, East Knoyle, Wiltshire is the central example. * * * * * * * [1] In this article I will argue that the ornamental zone of the carpet represented for Morris something more than an area of geometrical pattern and stylisation. The discussion of his ornament has generally focused on the overall schema adopted, his historical sources and his stylisation of natural form.
    [Show full text]
  • The Designs of William Morris Free
    FREE THE DESIGNS OF WILLIAM MORRIS PDF Phaidon Press,William Morris,Editors of Phaidon Press | 160 pages | 19 Oct 1995 | Phaidon Press Ltd | 9780714834658 | English | London, United Kingdom + Best William Morris patterns images | william morris, morris, william morris designs William Morrisa founder of the British Arts and Crafts movementsought to restore the prestige and methods of hand-made crafts, including textilesin opposition to The Designs of William Morris 19th century tendency toward factory-produced textiles. With this goal in mind, he created his own workshop and designed dozens of patterns for hand-produced woven The Designs of William Morris printed cloth, upholstery, and other textiles. The first textile designs Morris made were created in the s. Furthermore, it is not worth doing unless it is either very copious and rich, or very delicate - or both. His first The Designs of William Morris designs were primitive, but later, working with his wife Jane, he created a set of wall hangings for his residence in the London suburbs, Red House. One of his designs in this historical style, stitched by Jane Morris, won the Morris company an award in an international competition in Morris and his workshop began making embroideries for the households of his friends as well as larger panels for some of the many new churches being constructed in England. In these designs, Morris created the decorative elements, while his friend Edward Burne-Jones drew the figures, and a team of embroiderers manufactured the work by hand. Other wall hangings were designed to be sold off the shelf of the new Morris and Company shop on Oxford Street which owned in Later, he and his daughter May made designs for panels for "embroider yourself" kits for cushion covers, fireplace screens, doorway curtains, bedcovers and other household objects.
    [Show full text]
  • Decorative Arts: Design Since 1860 (518) Wed, 11Th Apr 2018, Edinburgh Lot 62
    Decorative Arts: Design since 1860 (518) Wed, 11th Apr 2018, Edinburgh Lot 62 Estimate: £3000 - £5000 + Fees JOHN HENRY DEARLE (1859-1932) FOR MORRIS & CO. 'ACANTHUS', EMBROIDERED PORTIÈRE, CIRCA 1890 silk embroidery on linen with green cotton backing, bears retailer's label MORRIS & COMPANY/ 449 OXFORD STREET/ LONDON. W. 240cm x 158cm Provenance: Purchased at Morris & Co. and by family descent Note: By 1885 William Morris had turned his attention to other ventures within the business, handing the embroidery section to his daughter May, herself a talented embroiderer and passionate advocate of the Arts and Crafts movement. Whilst a majority of the designs produced for the firm were direct creations of William Morris, he was adept at handing on the reigns to a team of skilled draughtsmen who produced designs for many important commissions, none more so than John Henry Dearle. Dearle began his career with the firm as a shop assistant at 449 Oxford Street in 1878. Recognising the young man's potential during his apprenticeship, Morris allowed Dearle to create fabric details and floral backgrounds for many of his designs. The pair opened a tapestry workshop at Queen Square shortly after and by 1890, at the age of 31, Dearle was Head Designer of the firm and responsible for handling the company's commissions for house decorative schemes. Under the guidance of May Morris, Dearle produced a series of portières featuring some of his most recognisable designs, including Owl (circa1895) now on display in the Victoria and Albert Museum. Whilst his artistic style always remains loyal to William Morris' aesthetic, the 1890s mark a clear attempt from Dearle to develop a mature, more individual artistic vision.
    [Show full text]
  • Universidade Federal Do Rio Grande Do Sul Instituto De Artes Departamento De Artes Visuais Bacharelado Em História Da Arte
    UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE ARTES DEPARTAMENTO DE ARTES VISUAIS BACHARELADO EM HISTÓRIA DA ARTE MARIANA GARCIA VASCONCELLOS PRESENTIFICANDO O PASSADO: Abordagens da cultura material nas obras de Lawrence Alma-Tadema e William Morris Porto Alegre, dezembro de 2018 MARIANA GARCIA VASCONCELLOS PRESENTIFICANDO O PASSADO Abordagens da cultura material nas obras de Lawrence Alma-Tadema e William Morris Trabalho de conclusão de curso apresentado ao Departamento de Artes Visuais do Instituto de Artes da Universidade Federal do Rio Grande do Sul, como requisito parcial e obrigatório para a obtenção de título de Bacharela em História da Arte. Orientadora: Profª Dra. Daniela Pinheiro Machado Kern Banca Examinadora: Profª Dra. Kátia Maria Paim Pozzer Prof. Dr. Paulo César Ribeiro Gomes Porto Alegre, dezembro de 2018 Para Beatriz Dahmer Garcia (1936-2003), colega de IA e quem primeiro me apresentou o amor pela arte. AGRADECIMENTOS Agradeço à minha orientadora, profª dra. Daniela Kern, pela confiança e entusiasmo com que acolheu minha ideia. Aos membros da banca, profs. drs. Kátia Pozzer e Paulo Gomes, pela disponibilidade e contribuições no acompanhamento do projeto. Agradeço às mediadoras voluntárias da Red House, Kelmscott Manor e Leighton House pela gentileza e interesse. Ao British Pilgrimage Trust, em especial a Will Parsons e Guy Hayward, pela incrível e inesperada chance de ver os azulejos de William Morris in loco, nas igrejas de Clapham e Findon. À equipe de administração da coleção da Tate Gallery, particularmente a Kitty Sillars, pela oportunidade de ver de perto algumas obras de Alma-Tadema e a única tela de Morris.
    [Show full text]
  • Caroline Arscott Word Count Without Footnotes 7, 062 Without Footnotes, 8, 484 with Footnotes
    Caroline Arscott word count without footnotes 7, 062 without footnotes, 8, 484 with footnotes ABSTRACT Caroline Arscott, ‘William Morris’s tapestry: metamorphosis and prophecy in The Woodpecker’. This essay discusses William Morris’s adoption of tapestry in the 1880s in terms of its allegorisation of the losses and gains of both historical and biological processes. The processes of tapestry itself, the movement of the shuttle and positioning of the weft and the gradual building up of the image are considered in relation to the prophetic mode deployed by Morris in the verses written on his tapestries published in his Poems By the Way of 1891. The essay centres on the example of the tapestry The Woodpecker (exhibited 1888) where Morris’s woodpecker motif refers to the story of Picus from Ovid’s Metamorphoses. The context of metamorphosis leads to a discussion of the woodpecker’s significance in that Victorian revisiting of metamorphosis, Charles Darwin’s theory of evolution. This is contextualised by a discussion of other Victorian theorisations of evolution and the evolutionary emergence of consciousness. The essay discusses the morphology of form and the sequence of substitutions involved in sexual selection: the move from a reliance on the power of song to a recourse to instrumental music, and then a further move to the use of coloured display in creatures seeking an advantage in courtship. The declarative and the tacit aspects of Morris’s tapestry are addressed in order to assess the potential for the elaboration of grand themes in a form of art that seemingly abjures the grandiose theatre of human action.
    [Show full text]
  • Vilniaus Dailės Akademijos Kauno Fakultetas Grafikos Katedra
    VILNIAUS DAILĖS AKADEMIJOS KAUNO FAKULTETAS GRAFIKOS KATEDRA Ugnės Krasauskaitės ORNAMENTO METAMORFOZĖS: AUGALINIŲ MOTYVŲ GRAFIKA Magistro baigiamasis teorinis darbas Taikomosios grafikos studijų programa, valstybinis kodas 621W10007 Magistrantė: Ugnė Krasauskaitė .................................................. (parašas) .................................................. (data) Darbo vadovė: doc. dr. Odeta Žukauskienė .................................................. (parašas) .................................................. (data) Tvirtinu, katedros vedėjas: doc. Vaidas Naginionis .................................................. (parašas) .................................................. (data) Kaunas, 2017 1 AUTENTIŠKUMO DEKLARACIJA Aš, Ugnė Krasauskaitė, kandidatas (-ė) VDA Grafikos katedros magistro laipsniui gauti, patvirtinu, kad šis baigiamasis darbas paremtas mano paties (-čios) tyrimais ir jame naudotasi tik tokia papildoma informacija, kuri nurodyta nuorodose, paaiškinimuose, šaltinių, literatūros bei lentelių ir paveikslų sąrašuose. Patvirtinu, kad baigiamajame darbe nėra naudojamasi kitų darbais to nenurodant ir nė viena baigiamojo darbo dalis nepažeidžia jokių asmens ar institucijos autorinių teisių. Taip pat nė viena baigiamojo darbo dalis nebuvo pateikta jokiai kitai aukštojo mokslo institucijai, kaip akademinis atsiskaitymas ar siekiant gauti mokslo laipsnį. Ugnė Krasauskaitė 2 Turinys SANTRAUKA ......................................................................................................................................
    [Show full text]
  • Tapestry Sanati Ve Türkiye'de Gelişim Süreci Tapestry Art
    DERLEME / REVIEW TAPESTRY SANATI VE TÜRKİYE’DE GELİŞİM SÜRECİ TAPESTRY ART AND DEVELOPMENT PROCESS IN TURKEY Özlem ERZURUMLU JORAYEV* Sanat-Tasarım Dergisi 2019, Sayı: 10 ISSN: 2529-007X ss.47-54 DOI: 10.35333/Sanat.2019.88 Öz development of tapestry art. This art which has an important role in tex- tile has an influence on supporting the formation of textile art in Turkey. Tapestry ve Tekstil Sanatı teknik ve malzemeyi ortak kullanmaktadır. Gob- Moreover, the studies carried out by the academicians has pioneered the len ve duvar halısı olarak da anılan Tapestry, kilim tekniği ile dokunan re- development of Tapestry Art. simsel anlatımları ifade etmektedir. Tapestry dokumalar, tüm en boyunca devam etmeyen atkı ipliklerinin, aynı sırada desene göre yer değiştirme ve This study aims to present the information of the current position and dönüş yapmasıyla – devamsız atkı – oluşturulan atkı yüzlü dokumalardır. development of tapestry art with a wide angle by identifying the contem- porary status of Tapestry Art in Turkey. Avrupa’daki tarihsel geçmişe bakıldığında 14. yüzyılın başlarına kadar ör- Keywords: Tapestry, Gobelin, Weaved Picture, Thread Art, Textile Art. nek sayısı az olmasına karşın, sonrasında güçlü anlatımları olan, duvarları kaplayacak kadar büyük boyutlu Tapestry örnekleri dikkat çekmektedir. Giriş Toplumsal statü ve zenginlik göstergesi olarak kabul gören Tapestry, dö- nemin karton ressamları ve dokumacıları tarafından gerçekleştirilmiştir. Tapestry, goblen ve duvar halısı, figüratif desenlerin dokunması ile elde edilen resimsel dokumalardır. Tapestrylerde, kirkitli dokuma grubunda Anadolu topraklarındaki köklü dokuma geleneği Tapestry Sanatının geliş- olan kilim tekniği ile uygulamalar yapılmaktadır. Klasik tapestryler, de- mesinde belirleyici rol oynamıştır. Tekstil sanatı içinde önemli bir yere vamsız atkı iplikleri ile çoğunlukla figüratif desenlerin uygulandığı, atkı sahip olan bu sanat, Türkiye’de Tekstil Sanatının biçimlenmesinde etkili yüzlü dokumalardır.
    [Show full text]
  • Haleema Kamran and Anusha Maryam's Project
    THE PRINCIPLES OF ART AND DESIGN Meet William Morris: The Most Celebrated Designer of the Arts & Crafts Movement • Born in Walthamstow, East London in March 1834, William Morris was a poet, artist, philosopher, typographer, political theorist, and arguably the most celebrated designer of the Arts & Crafts movement. He strived to protect and revive the traditional techniques of handmade production that were being replaced by machines during the Victorian era's Industrial Revolution. Although he dabbled in embroidery, carpet-making, poetry and literature, he mastered the art of woodblock printing, and created some of the most recognizable textile patterns of the 19th century. • We will be highlighting his early designs since 1860 for e.g., The first paper Morris designed was 'Trellis' in 1862, a pattern suggested by the rose trellis in the garden of Red House, Morris's home in Kent; the second was 'Daisy' (1864), a simple design of naively drawn meadow flowers. The next pattern, 'Fruit', (1865), also demonstrated the same informal naturalism of Morris's first two designs. All these papers, and nearly all that Morris then went on to design were printed using hand-cut woodblocks loaded with natural, mineral-based dyes. ESTABLISHMENTS It was in the 1870s that Morris really mastered designing for wallpaper, a period during which he created many of his most enduring designs, such as 'Larkspur' (1872), 'Jasmine' (1872), 'Willow' (1874), 'Marigold' (1875), 'Wreath' and 'Chrysanthemum' (both 1876–87). These patterns all demonstrate exuberant scrolling foliage, a degree of three-dimensionality, and a closely interwoven foreground and background. Jasmine and Chrysanthemum Block printing and Wood-blockprinting • ‘Block Printing’ or ‘Woodblock Printing’ is a method used to print text, images or patterns on textiles and later paper.
    [Show full text]
  • Väitöskirjassaan Ruotsalaisia Damastikankaita Ja Niiden Valmistusta Vadstenassa 1753–184315
    Kansikuva: Dora Jung, Festivo (Påfågel), 1965, 46 x 34 cm, Tampella. Kuva PF. © Päivi Fernström ISBN 978-952-10-8334-1 (nid.) ISBN 978-952-10-8376-1 (PDF) ISSN L 1798-713X ISSN1798-713 Unigrafia, Helsinki 2012 2 Tiivistelmä Tutkimuksen kohteena on suomalaisen tekstiilitaiteilija Dora Jungin, 1906–1980, käsityöllinen ja teollinen toiminta sekä hänen damastiensa kehittymiskaari. Dora Jungia on aikalaiskirjoituksissa kuvailtu damastin uudistajana, hänen kudoksiaan damastitaiteen renessanssina ja hänen damastien kudontaa ”dorajung-tekniikkana”. Tutkimus selvittää vanhan ja arvostetun damastikudonnan vaiheittaista siirtymistä Etelä-Euroopasta Pohjolaan ja tuo esille rakenteita, jotka ovat vaikuttaneet damastiin Suomessa. Dora Jungin toiminnassa keskityn sen muutokseen vaikuttaneisiin tekijöihin ja käsin kudonnan merkitykseen kansallisessa viitekehyksessä peilaten tätä eurooppalaisen damastitaiteen jatkumoon. Dora Jung opiskeli Helsingissä Taideteollisuuskeskuskoulun tekstiilitaiteen osastolla 1929–1932. Ennen tekstiilitaiteen opintojaan hän opiskeli Suomen Käsityön Ystävien kudontakoulussa. Hän perusti valmistumisvuonaan 1932 oman kudonta-ateljeen nimellä Dora Jung Textil. Kutomossa valmistettiin sisustustekstiilejä, kirkkotekstiilejä, 1950- luvulta alkaen uniikkeja tekstiiliteoksia julkisiin tiloihin ja joitakin vapaita taidetekstiilejä. Jung teetti teollisia damasteja Oy Tampella AB:ssä jo 1930-luvulla, mutta suunnittelusopimus Tampellan kanssa solmittiin vasta 1950-luvun lopussa. Tutkimusstrategiana on tapaustutkimus. Se kohdistuu Dora Jungiin,
    [Show full text]
  • “The Beauty of the Bough-Hung Banks”: William
    “THE BEAUTY OF THE BOUGH-HUNG BANKS”: WILLIAM MORRIS IN THE THAMES LANDSCAPE by Sarah Marie Mead Leonard A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2020 © 2020 Sarah Marie Mead Leonard All Rights Reserved “THE BEAUTY OF THE BOUGH-HUNG BANKS”: WILLIAM MORRIS IN THE THAMES LANDSCAPE by Sarah Marie Mead Leonard Approved: __________________________________________________________ Sandy Isenstadt, Ph.D. Chair of the Department of Art History Approved: __________________________________________________________ John Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Sandy Isenstadt, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Margaret Stetz, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: __________________________________________________________ Zara Anishanslin, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]