Weaving

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Missouri Artists On Main, 315 – 321 S. Main St. Charles, MO  63301

(636) 724-1260  http://www.maomgallery.com

From prehistory to the present day many civilizations and cultures have contributed to the development of weaving.

Woven cloth has been, and continues to be, produced on a variety of loom types that reflect an array of historical, cultural, and regional circumstances. Today they range from basic, portable backstrap looms to widely used electronic jacquard looms.

It is likely that the development of weaving was instigated by the basic needs of prehistoric people: food, shelter, and clothing. The embellishment of woven objects is similarly historical; natural dyes on reeds and weaving elements in different sizes and colors were combined to create patterns, indicating a desire to convey individuality and aesthetic awareness.

The treadle loom, developed in China during the Shang period (1766-1122 BC) is the precursor of modern hand and industrial looms. The treadle loom consists of long pedals, which are operated by the weaver’s feet and are tied to one or more shafts making it easier to raise and lower warp threads in selected combinations. Importantly, it allowed weavers to keep their hands free to manipulate the shuttle.

The most significant developments in weave production started in the eighteenth century when the Industrial Revolution pioneered a shift toward mechanical production. The first practical power loom was designed by Edmund Cartwright in 1787, but it was the 1820s before technical shortcomings were resolved and the weaving industry was transformed.

In France, in 1801, Joseph Jacquard invented a loom that represented a major technological breakthrough. A series of punched cards was added to the top of the loom to control a complex pattern of warp threads. This complicated machine later developed into a looped arrangement of cards for creating repeat patterns in cloth and carpets. The jacquard loom enabled intricate patterns to be woven without the continual intervention of the weaver and is widely acknowledged to be a precursor of modern computer science.

Anni Albers, former Bauhaus and Black Mountain College weaving  tutor, took the craft of hand weaving to new levels of creativity during her prolific career spanning the twentieth century. Significantly, this involved breaking down the traditional perceptions of weaving, to the extent that her designs were widely seen as art forms full of similar creative content and vitality to that found in fine art and in particular abstract paintings. Albers defined weaving as forming a pliable plane of threads by rectangular interlacing. She described the woven cloth as possessing two key elements: the building material (by which she meant the thread structure and the character of the fibers it contained) and the actual weave or construction. Albers developed her definition by explaining weaving as the process of passing the weft between taut, alternatively raised warps, creating a plain weave, or between other combinations of selected warps.

“Hand-woven textile designs.” Textile Design, Simon Clarke, Laurence King, 1st edition, 2011. Credo Reference Accessed 19 Jul 2017.

 

 A rectangular or square frame can be the simplest of looms.

MAOM will offer a class for beginning weavers during the month of August.

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Painting With Yarn, Tapestry For Beginners

resident artist, Judith Drew

In this class, each student is provided a lap-sized frame loom which you will prepare to be two sided.  One side for exercises and techniqes, and the other
for your original woven design.  All cord and yarns provided, plus small tools.

Sundays, August 6, 13, 20 (3 weeks)
1:00 – 3:00 p.m.
$70 (Adult) and $60 (Children) with an adult  (9 years old and up)

All Materials Provided!

636-724-1260  

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Millinery / Milliners

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MISSOURI ARTIST ON MAIN

315 – 321 S. Main St. Charles, MO  63301  (636) 724-1260 http://www.maomgallery.com

Hat by MAOM artist Diane Tessman

Milliners create hats for women; hat makers make hats for men.

The term “millinery” is derived from “Millaners,” merchants from the Italian city of Milan, who traveled to northern Europe trading in silks, ribbons, braids, ornaments, and general finery. First chronicled in the early sixteenth century, these traveling haberdashers were received by noble aristocratic households, passing on news of the latest fashions as well as selling their wear. News of the latest styles and variations on dress was as important to men as it was to women, and milliners often acted as much sought-after fashion advisers to nobility all over Europe. One such milliner is mentioned by William Shakespeare in Henry IV part 1, when the gallant warrior Hotspur refers to his encounter with a “trimly dress’d lord” as: Fresh as a bridegroom; and his chin reap’d show’d like a stubble – land at harvest-home; He was perfumed like a milliner; And ‘twixt his finger and his thumb he held a pouncet box.  (Hopkins, Susie. “Milliners.” Encyclopedia of Clothing and Fashion, edited by Valerie Steele, vol. 2 Charles Scribner’s Sons, 2005, pp. 411 -415.)

Missouri Artist on Main exhibits the work of two local milliners; Diane Tessman and Kathy Shallow. Each works in a completely different method creating unique, beautiful and fun creations.

Kathy Shallow creates needle felted hats, scarves and accessories from Alpaca wool raised on her two sister’s farms. Kathy says; “Alpaca is such a wonderful fiber to work with, very soft, warm and lightweight.”

kathy-hat2

Her hats, scarves, purses and bags are wonderfully dyed in a range of rich colors,

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and the felted Alpaca wool feels wonderful.

Diane Tessman carries on a multi generational family tradition that she learned from her grandparents and mother; and that she and her sister continue.  Diane said,”Believing heavily in repurposing, we recycle cashmere and lambswool sweaters, blue jeans and pretty much anything that can be redone. Everything is handmade, no forms or ready-made additions. The hats are braided, just as a rug would be braided, and sewn on a commercial machine using a technique of tension in holding the braid. The hat is completely formed when it leaves the machine. Each hat is uniquely different.” (Deer, Karen. “Made in St. Louis: Two sisters keep a family tradition growing by making hats.” St. Louis Post Dispatch, Dec. 27, 2013.)

tessman3   dianetessman_hats   dianetessmanhat2

Please visit the gallery to see the work of our milliners.

BTW… once inspired by Diane and Kathy’s work visit an Edgar Degas exhibit featuring hats and paintings, “Degas, Impressionism and the Paris Millinery Trade” is on view at the St. Louis Art Museum through May 7. It is a fantastic exhibit and a chance to view not only major works of impressionism but also a wonderful collections of 40 period hats.