Knitting

from Wikipedia, the free encyclopedia

Coming in from the science resumed medieval expression tapestry called both the technology of the influence of images and motifs in a textile fabric and the product of this technique is the tapestry . The picture knitting is not to be confused with the carpet knitting or the machine-made knitted fabric .

vocabulary

Fragment of a Swiss tapestry, 2nd quarter of the 15th century.
Wall hanging depicting Hildegard von Bingen from the branch church of St. Hildegard von Herz-Jesu in Fechenheim , profaned in 2012 , today in the Heilig-Geist-Kirche in Frankfurt - Riederwald

The technique of picture knitting is related to weaving , but not identical to it, although like weaving it requires a hand loom or a loom . In the knitting process, the colored weft threads are only knitted back and forth as far as the edge of the colored area specified in the cardboard box , while in the weaving process they are shot in through the entire weaving width, from one edge to the other. The production of a knitted picture is not possible by machine; H. picture knitting is always done manually.

The designations are for the product tapestry or quilt usual. Primarily the classical works have been called tapestry since the 19th century , a synonym taken from French . As Gobelins are only in the today in Paris settled Gobelin tapestries made to call. To imitations are in Gobelinmalerei, the motifs are painted on a fabric, and the needlepoint actually a petit point embroidery .

Image knitting is produced as individual works, as sequences of images and as hangings. A sequence of images (French: série ) consists of several thematically related motifs. The curtain (French: ensemble ) is a set that is used for the homogeneous furnishing of a gallery , a room or a suite of rooms . It is made up of individual works in which the same color scheme and the same subject are taken up in a modified form. In addition to several large wall hangings, such a curtain also includes smaller works that are also adapted in terms of color and theme, such as door hangings and furniture covers for seating , seat cushions, fireplace screens and the like.

function

The artistic knitting had to fulfill various practical tasks in addition to the decorative one. On the one hand, there was thermal insulation , which also had a positive effect on the room climate . They also helped to solve the acoustic problems in large, high rooms. If one only considers these practical functions of picture knitwear, one does not do justice to the genre. In addition, many picture knitting and picture knitting sequences have great didactic functions. So are z. B. the medieval pictorial work from the Upper Rhine, the wild people and / or mythical animals show invitations to live a life according to courtly laws. The wild figures reflect the courtly-knightly ideal that the viewer should emulate. The numerous love allegories from the same provenance also bear witness to this.

technology

Tapestry in the Wartburg from the 14th century - Low German

A real hand- knitted tapestry is created on a vertical high loom (Hautelisse chair) or on a horizontal flat loom (Basselisse chair). Are processed linen and cotton for the highly stressed warp threads, wool , silk , linen and sometimes when it is very precious works, silver and gold thread for the shot . The work is done on the back of the resulting work.

The basis for the motif is a colored draft or a painting . A cardboard box serves as the connecting link between the design and the fabric , on which the given contours , the boundaries of the different colored areas and the coloring have been defined. This cardboard is placed as a weaving template either in the back of the knitter (high loom) or attached under the warp threads (flat loom). This means that for a flat loom, the cardboard must be drawn in mirror image or, in order to avoid transfer errors, transferred as a mirrored outline drawing with the help of transparent pauses , the calques . It is possible to transfer the contours from the cardboard to the warp threads. In both cases mirrors are used: on the high loom with a large mirror to keep an eye on the box, on the flat loom with a small hand mirror to check the quality of the front. So the cardboard box of the high loom, which the weaver working on the back of the tapestry looks at in a mirror, is not drawn in mirror image.

The incorporation of the images is called working through or working through. In manual work, the weft yarn is wound onto a wooden so-called fleece , which resembles a clapper that tapers at the front . The thread is pressed into the fabric with the pointed end of the tip of the fleece.

Making a tapestry is very time-consuming. Four to eight working weeks per square meter may be required.

history

Croy carpet from 1554/1556, owned by the Ernst Moritz Arndt University of Greifswald

Along with weaving and pottery, knitting is one of the oldest handicrafts known to man. It was practiced thousands of years ago. Image knitting experienced its heyday in the Middle Ages and the Renaissance , for example in the millefleurs tapestries .

The oldest surviving fragments of image weaving are grave supplements, which have been preserved for thousands of years thanks to the dry desert climate in Egypt . Vases with representations of looms are known from ancient Greece , and woolen knitwear from Asia Minor and Egypt from late antique and early Christian times . An early Coptic wool knitting from the 4th century can be seen in the Kunsthistorisches Museum in Vienna .

The oldest Western European traces of picture weaving include the medieval works from the 12th and 13th centuries, which are kept in Halberstadt Cathedral ( Abraham carpet around 1150, the oldest knitted tapestry in Europe) and large ones that were created in France towards the end of the 13th century Cycles like the Apocalypse that can be admired in Angers .

Tapestries (selection)

The Bayeux Tapestry (2nd half of the 11th century) is also erroneously referred to as “tapestry” in French. However, it is actually an embroidery .

Production facilities

Important artisans, artists and personalities

To be performed

- image maker,
- Artists who have provided designs for picture knitting,
- other personalities who have made an outstanding contribution to the picture knitting,

according to the countries in which they were creatively active and in the chronological order of the years of birth.

Germany

  • Max Wislicenus (* 1861 Weimar; † 1957 Dresden Pillnitz), artist, teacher and professor at the Royal Art and Trade School (Academy from 1911) in Breslau, where he set up a workshop for picture weaving in 1904. Co-founder of the workshops for picture weaving at Pillnitz Castle (1919) near Dresden
  • Paul Thiersch (* 1879 Munich; † 1928 Hanover), arts and crafts teacher and head of the crafts and arts and crafts school (today Halle Burg Giebichenstein art college ) in Halle (Saale) , had tapestries produced in the school workshop from around 1915
  • Wanda Bibrowicz (* 1878 Graetz / Posen; † 1954), Polish weaver and head of the textile department of the Royal Art and Trade School (Academy from 1911) in Breslau, founder of the Silesian workshop for art weaving in Oberschreiberhau / Silesia (1911), co-founder of the workshops for picture knitting at Pillnitz Castle near Dresden (1919)
  • Marie Thierfeldt (* 1893 East Prussia; † 1984 Hamburg), first female weaver in East Prussia, teaching at the Königsberg Art Academy, later a successful workshop in Hamburg
  • Irma Goecke (* 1895 Paris; † 1976 Munich), director of the tapestry manufactory in Nuremberg, created her first works in 1918
  • Johanna Schütz-Wolff (* 1896 Halle (Saale); † 1965 Söcking near Starnberg), German artist and picture maker, created her first own works since the 1920s
  • Immeke Mitscherlich , née Schwollmann (1899–1985), German textile artist, graduate of the Bauhaus
  • Erich Klahn (born May 16, 1901 Oldenburg; † October 14, 1978 Celle), cardboard painter
  • Alen Müller-Hellwig (* October 7, 1901 Lauenburg in Pomerania ; † December 9, 1993 Lübeck), workshop in the Burgtor in Lübeck
  • Wladimir Lindenberg (* 1902 Moscow, † 1997 Berlin), German doctor, writer, painter and picture weaver of Russian origin, created his first knitwear in the 1920s
  • Woty or Woty Werner, actually Anneliese Werner (* 1903 Berlin; † 1971 Nuremberg), was a German picture weaver, painter and designer who participated in documenta 2 in Kassel in 1959
  • Elisabeth Kadow , née Jäger (1906–1979), textile designer, head of the master class for textile art and the textile design department of the Textile Art School in Krefeld at the textile engineering school in Krefeld , created a. a. Tapestries and tapestries for public spaces
  • Hildegard Osten , (born March 23, 1909 Bad Oldesloe; † September 14, 2000 Lübeck) workshop of the artist in Lübeck
  • Edith Müller-Ortloff (1911–1994), tapestry artist, founder of the Meersburg tapestry studio
  • Werner Rataiczyk (* 1921 in Eisleben) and Rosemarie Rataiczyk, textile artist in Halle (Saale)
  • Marielies Riebesel (* 1934 in Bombeck / Altmark; † 2015 Halle (Saale)), textile artist
  • Karl Schaper (1920–2008) ran the picture weaving business together with his wife Susanne Schaper
  • Ingeborg Schäffler-Wolf (1928–2015) created numerous tapestries for public spaces
  • Else Bechteler-Moses (* 1933 in Berlin), carpet artist
  • Gabriele Grosse (* 1942 in Hanover) studied painting at the Karlsruhe Art Academy and tapestry weaving and free graphics at the Düsseldorf Art Academy . She has been working freelance in Düsseldorf since 1967.

Austria

Denmark

Flanders

France

  • Pablo Picasso (* 1881 Málaga † 1973 Mougins ), Spanish painter, sculptor, ceramicist. First draft for a tapestry: "L'Inspiration" (made in Aubusson in 1933).
  • Georges Braque (* 1882 Argenteuil † 1963 Paris ), French painter. He provided numerous designs for the Felletin and Aubusson factories.
  • Sonja Delaunay (* 1885 † 1979 Paris ), French painter of Russian origin, wife of the painter Robert Delaunay . She delivered designs to the Felletin factory.
  • Jean Arp (* 1886 Strasbourg † 1966 Basel ), French painter and sculptor. First draft for a tapestry: "Ombre de Fruit" (made in Aubusson in 1952).
  • Jean Cocteau (* 1889 Maisons-Laffitte † 1963 Milly-la-Forêt ), French writer, poet, graphic artist and film director. First draft: "Judith et Holopherne" (delivered to the Aubusson factory in 1948).
  • Jean Lurçat (* 1892 Bruyères † 1966 Saint-Paul-de-Vence ), French painter and cardboard painter, master and main exponent of contemporary cardboard painting, who owes the revival of pictorial knitting. First draft for a tapestry: "L'Orange" (delivered to the Aubusson manufactory in 1933). He created about 800 boxes.
  • Marcel Gromaire (1892 Noyelles-sur-Sambre † 1971), French painter
  • Alexander Calder (* 1898 Philadelphia † 1976 New York), American sculptor. First draft for a tapestry: "Le Soleil Rouge" (1967). He then created numerous large-format designs for the factories in Felletin and Aubusson.
  • Salvador Dalí (* 1904 Figueres † 1989 Torre Galatea), Spanish painter. He let his works work in Aubusson, where he personally participated in the acceptance of the completed works and in the sewing of the slits.
  • Henri-Georges Adam (1904-1967)
  • Victor Vasarely (* 1906 Pécs † 1997 Paris ), French painter of Hungarian origin. From 1949 he had "experimental tapestries" and kinetic works carried out with metal threads in Aubusson and Felletin.
  • Yaacov Agam (* 1928 Israel), French kinetics and op art artist of Israeli origin. He delivered abstract designs to the Aubusson factory that were carried out in the early 1970s.
  • Jean Daprai (* 1929 Rovereto ), French painter. Execution of drafts for tapestries for the Sultan of Brunei for the jubilee of the throne 1991–1992 (1990, executed in Aubusson).
  • Richard Texier (* 1955 Niort ), French painter. First drafts for tapestries: the series of images "Droits de l'Homme" (1988, executed in Aubusson).

Spain

literature

  • Wolfgang Brassat : Tapestries and Politics. Functions, contexts and reception of a representative medium. Mann, Berlin 1992, ISBN 3-7861-1641-5 (also: Marburg, Univ., Diss., 1989).
  • Anna Rapp Buri, Monica Stucky-Schürer: Tame and Wild. Basel and Strasbourg tapestries of the 15th century. von Zabern, Mainz 1990, ISBN 3-8053-1174-5 (exhibition catalog Basel, 1990), (since then several editions).
  • Christina Cantzler: Late Gothic tapestries on the Middle Rhine. 1400-1500. Wasmuth, Tübingen 1990, ISBN 3-8030-5055-3 (also: Mainz, Univ., Diss., 1989).
  • Guy Delmarcel, Erik Duverger: Bruges et la Tapisserie. Exposition Chefs-d'œuvre de la Tapisserie brugeoise. Poortere, Bruges 1987 (exhibition catalog Bruges 1987).
  • Guy Delmarcel: Golden weavings. Flemish tapestries of the Spanish crown. Gaspard de Wit Stichting, Malines et al. 1993 ( Peristromata 1), (exhibition catalog).
  • Joseph Duverger: Brusselse patroonschilders uit de XIVe en de XVe eeuw. In: Bloeitijd van de Vlaamse Tapijtkunst. = L'âge d'or de la tapisserie flamande. Internationaal Colloquium, 23-25 ​​May 1961. Koninklijke Vlaamse Academie voor Wetenschappen, Brussels 1969, pp. 205-226.
  • Birgit Franke: Old Testament tapestry and ceremonial at the Burgunderhof. In: Jörg Jochen Berns, Thomas Rahn (ed.): Ceremonial as courtly aesthetics in the late Middle Ages and early modern times. Tübingen Tübingen 1995, ISBN 3-484-36525-0 , pp. 332-352 ( Early Modern Age 25).
  • Birgit Franke: Tapestry - “portable grandeur” and medium of storytelling. In: Birgit Franke, Barbara Welzel (ed.): The art of the Burgundian Netherlands. An introduction. Reimer, Berlin 1997, pp. 121-139.
  • Heinrich Göbel : tapestries . Klinkhardt & Biermann, Leipzig 1923–1934 ( digitized version )
    • Part 1, The Netherlands . 2 volumes, 1923
    • Part 2, The Romance Countries. The tapestries and their factories in France, Italy, Spain and Portugal . 2 volumes, 1928
    • Part 3, Volume 1: The Germanic and Slavic countries. Germany including Switzerland and Alsace (Middle Ages), southern Germany (16th to 18th centuries) . 1933
    • Part 3, Volume 2: The Germanic and Slavic countries. West, Central, East and North Germany, England, Ireland, Sweden, Norway, Denmark, Russia, Poland, Lithuania . 1934
  • Dora Heinz: European tapestries. Volume 1: From the beginnings of picture knitting to the end of the 16th century. Klinkhardt & Biermann, Braunschweig 1963 (= library for friends of art and antiques 33, ZDB -ID 518703-5 ).
  • Dora Heinz: European tapestry art of the 17th and 18th centuries. The history of their production facilities and their artistic objectives. Böhlau, Vienna et al. 1995, ISBN 3-205-98163-4 .
  • Fabienne Joubert: La Tapisserie. Brepols, Turnhout 1993, ISBN 2-503-36067-X ( Typologie des sources du Moyen Age occidental 67).
  • Betty Kurth : The German tapestries of the Middle Ages. 3 volumes. Schroll, Vienna 1926.
  • Hans Lanz: Gothic tapestries . Hallwag, Bern / Stuttgart; Orbis Pictus series
  • Barbara Welzel: Notes on art production and art trade. In: Birgit Franke, Barbara Welzel (ed.): The art of the Burgundian Netherlands. An introduction. Reimer, Berlin 1997, ISBN 3-496-01170-X , pp. 141-157.
  • Björn Raupach: The joy of life that is created. The Gobelin in the GDR, Leipzig 2018, KUNSTUNDWERK, ISBN 978-3-947565-00-9 .

Web links

Commons : Tapestry  - collection of images, videos and audio files
Wiktionary: Tapestry  - explanations of meanings, word origins, synonyms, translations

Individual evidence

  1. ^ Charlotte Steinbrucker: Tapestry (picture knitting, tapestry). In: Reallexikon zur Deutschen Kunstgeschichte, Vol. II. 1940, accessed on January 17, 2018 .
  2. http://www.khm.at/system2.html?/static/page181.html ( Memento from October 6, 2008 in the Internet Archive )
  3. The Halberstadt Cathedral Treasure. One of the most precious church treasures in the world , die-domschaetze.de
  4. ^ Franz Müller: Photo book Jean Daprai , Rain 2001, ISBN 3-9807169-5-3