The Development of Embroidery in America Informative Summary

Overview:

This book delves into the fascinating history of embroidery in America, highlighting how this art form transformed and adapted to the changing times and circumstances. It starts with the unique porcupine quillwork of Native American women, a testament to their ingenuity and creativity in utilizing natural resources. The book then explores the arrival of European settlers and the introduction of crewelwork, a technique brought over from England. The use of homespun linen and natural dyes reveals the ingenuity of early American women in creating their own materials and adapting to their environment. The book also discusses the distinct “blue-and-white” style of crewelwork, which emerged due to the dominance of indigo dyeing. It then introduces the remarkable Moravian embroidery, a style known for its intricate flowerwork and delicate satin stitch, which flourished in Bethlehem, Pennsylvania. The influence of this school on American needlework was significant, as it introduced a more refined and artistic approach. The book further examines the evolution of French embroidery, characterized by delicate stitchery on fine cambrics and muslins, which became a popular fashion in the 18th and 19th centuries. Finally, it addresses the rise and fall of Berlin woolwork and the subsequent revival of embroidery in the late 19th century, spurred by the Society of Decorative Art in New York City.

The author also explores the development of American tapestry, discussing the challenges and triumphs of creating tapestries using needle weaving techniques. The book concludes with a chapter on the famous Bayeux Tapestry, highlighting its historical significance and its impact on the art of needlework.

Key Findings:

The evolution of embroidery in America reflects the changing social and economic conditions.
Native American quillwork showcases the incredible creativity of indigenous cultures in utilizing natural resources.
Early American women were resourceful in using homegrown flax and wool and natural dyes to create their own materials.
The “blue-and-white” style of crewelwork emerged due to the dominant use of indigo dye.
Moravian embroidery brought a more sophisticated and artistic approach to needlework.
French embroidery became a widespread practice during a period of increased societal elegance and sophistication.
The revival of embroidery in the 19th century was fueled by a desire for artistic expression and economic independence for women.
American tapestry emerged as a unique and ambitious form of needle-woven art.
The Bayeux Tapestry serves as a valuable example of the power of needlework as a historical document.

Learning:

The reader will learn about the various techniques and materials used in different types of embroidery throughout American history.
- Quillwork: Using porcupine quills and animal hair, dyed with plant juices, for decoration on garments.
- Crewelwork: Embroidering with thick wool yarn, often dyed with natural dyes, on linen.
- Moravian embroidery: Known for its delicate satin stitch, using fine twisted silks and flosses on satin.
- French embroidery: Characterized by delicate overstitching and lace stitches on fine cambrics and muslins.
- Berlin woolwork: Cross-stitching with colored wools or silks on canvas.
- Needle weaving: Using a needle as a shuttle to create tapestries on silk canvas.
The reader will gain a deeper understanding of the social and economic factors that shaped the development of embroidery in America.
- Native American quillwork reflects a resourceful and artistic approach to adornment within a limited material environment.
- The early American use of homespun linen and natural dyes reflects a time when self-sufficiency and resourcefulness were essential.
- The “blue-and-white” style of crewelwork demonstrates how practical considerations could influence artistic trends.
- The emergence of French embroidery aligns with a period of increased societal refinement and the popularity of elegant fashion.
- The rise of the Society of Decorative Art reflects a shift toward artistic expression and economic independence for women in the 19th century.
The reader will appreciate the historical significance of the Bayeux Tapestry and its role in demonstrating the potential of needlework as a historical document.
- The Bayeux Tapestry tells the story of the Norman Conquest of England through intricate needlework, showcasing the artistic skills of the time.
- It provides a fascinating glimpse into the social and political life of the 11th century.

Historical Context:

Early American embroidery developed during a time of colonization and expansion, as settlers established their own communities and adapted to their new environment.
The period of French embroidery coincided with a time of increased trade and cultural exchange between Europe and America.
The rise of Berlin woolwork occurred during a time of industrialization and the increasing availability of manufactured goods.
The revival of embroidery in the 19th century was part of a broader cultural movement that emphasized artistic expression and women’s empowerment.

Facts:

Native American women used porcupine quills to create unique and intricate embroidery designs. The quills were split, flattened, and dyed with natural pigments to create vibrant colors.
Early American women dyed wool with natural dyes such as indigo, walnut bark, sumac, and wild cherry. These dyes produced a wide range of colors that were used in crewelwork and other forms of embroidery.
The “blue-and-white” style of crewelwork became popular due to the widespread availability and durability of indigo dye. It became a defining characteristic of early American embroidery.
Moravian embroidery originated in Bethlehem, Pennsylvania, a community founded by religious missionaries. This style of embroidery was known for its delicate satin stitch and beautiful flower designs.
The Moravian Sisters taught embroidery to girls at their school in Bethlehem, which became a center for fine needlework in the colonies. This school influenced the development of embroidery throughout America.
French embroidery, a style characterized by delicate stitchery on fine fabrics, became widespread in America during the 18th and 19th centuries. It was often used for embellishing clothing and household items.
Berlin woolwork, a method of cross-stitching with colored wools or silks on canvas, was a popular form of needlework in the 19th century. While it was often used for furniture coverings and pictures, it was less successful in achieving artistic recognition.
The Society of Decorative Art, founded in New York City in the late 19th century, played a significant role in reviving embroidery as an art form and providing economic opportunities for women. It encouraged artistic expression, taught new techniques, and promoted the sale of embroidered goods.
The creation of tapestries using needle weaving techniques, as pioneered by The Associated Artists, marked a new era in American textile art. This process involved using a needle as a shuttle to weave silk threads on a silk canvas.
The Bayeux Tapestry, a long strip of linen embroidered with scenes from the Norman Conquest of England, is a remarkable example of needlework as a historical document. This work, created in the 11th century, provides a fascinating glimpse into a crucial moment in history.
Porcupine quill embroidery was a unique art form specific to the Native American cultures of North America. It showcases their use of natural materials to create beautiful and intricate designs.
Early American women were skillful spinners, weavers, and dyers. They used their own skills to create the materials for their embroidery.
The “blue-and-white” style of crewelwork was not only a product of circumstance but also an early example of American innovation in embroidery. It reflected the unique conditions of early American life.
Moravian embroidery was not only a beautiful art form but also a significant source of income for the Moravian Sisters. Their skills and dedication to fine needlework helped to support their school and community.
French embroidery was a testament to the increasing sophistication of American society. The popularity of this style reflects a growing appreciation for fine fabrics and elegant fashion.
Berlin woolwork, despite its widespread popularity, was criticized for its lack of originality and the commercialization of its patterns. It did not reach the same level of artistic recognition as other forms of embroidery.
The Society of Decorative Art became a catalyst for the development of American embroidery in the late 19th century. It provided a platform for women to express their artistic talents and earn a living through needlework.
American tapestry, created using needle weaving techniques, showcased a unique approach to textile art. It combined the skill of needlework with the artistic vision of American artists.
The Bayeux Tapestry, despite its humble appearance, is a significant historical artifact. It documents a crucial period in European history and serves as a testament to the power of needlework to communicate stories.
The prevalence of embroidery in different periods of American history reflects the changing roles and expectations of women in society. It often served as a means of self-expression, economic independence, and the preservation of cultural traditions.

Statistics:

The porcupine quill embroidery of Native American women utilized various materials, including dyed moose hair, split quills of birds, and perforated shells, showcasing the creativity of indigenous cultures in working with natural resources.
The “blue-and-white” style of crewelwork was characterized by the use of different shades of indigo dye, reflecting the influence of this dominant color in early American textile practices.
Moravian embroidery was taught at the Moravian Seminary in Bethlehem, Pennsylvania, and required a significant investment in materials, with the price of “tambour and fine needlework” being “seventeen shillings and sixpence, Pennsylvania currency.” This illustrates the value placed on fine needlework at the time.
The Society of Decorative Art, founded in New York City in the late 19th century, had a membership fee of Five Dollars, reflecting the cost of supporting the organization and providing opportunities for women to pursue their artistic endeavors.
The Society of Decorative Art charged a commission of 10% on the sale of consigned artwork, showcasing a business-minded approach to supporting artistic endeavors and providing economic opportunities for women.
The Bayeux Tapestry, an intricate embroidered record of the Norman Conquest of England, is an impressive 230 feet long, showcasing the scale and ambition of needlework in the 11th century.
The Bayeux Tapestry depicts 200 horses, 555 dogs and other animals, 41 ships, numerous castles and trees, and roads and farms, demonstrating the comprehensiveness of this embroidered historical narrative.
The Bayeux Tapestry depicts 555 dogs, showcasing the detailed representation of animals in this impressive piece of needlework.
The Bayeux Tapestry features 41 ships, revealing the importance of naval travel and warfare in the Norman Conquest.
The Bayeux Tapestry is 2 feet wide, showcasing its impressive length and the dedication required to create such a detailed work of embroidery.
The Society of Decorative Art’s ambitious goals included accumulating and distributing information concerning art industries, forming classes in needlework, and establishing rooms for the exhibition and sale of art objects, reflecting the multifaceted approach of this organization in promoting the arts.
The Society of Decorative Art aimed to make connections with potteries, manufacturers, and importers, showcasing their commitment to supporting artists and the broader creative industry.
The Society of Decorative Art aimed to induce each worker to thoroughly master one variety of decoration, showcasing the emphasis on specialization and expertise in achieving excellence in needlework.
The Society of Decorative Art aimed to obtain orders from dealers in China, cabinet work, and household art, demonstrating their commitment to expanding the market for art objects created by women.
The Society of Decorative Art’s initial expenses were to be defrayed by membership fees and donations, reflecting the philanthropic nature of the organization.
The Society of Decorative Art expected that, after the first two years, all expenses would be met by commissions on the sale of consigned articles, demonstrating the organization’s aspiration for self-sufficiency.
The Society of Decorative Art charged a commission of 10% on the sale of consigned artwork, showcasing their business-minded approach to supporting artistic endeavors and providing economic opportunities for women.
The Society of Decorative Art hoped that, by seeing truly artistic decorative work, many women who had found the painting of pictures unremunerative might turn their efforts in more practical directions, reflecting the organization’s aim to provide alternative career paths for women.
The Associated Artists, a group of artists including Louis Tiffany, Mr. Coleman, Mr. De Forest, and Candace Wheeler, collaborated on various art projects, including needle-woven tapestries and loom weaving, showcasing the potential of cross-disciplinary collaboration in the creative arts.
Mrs. Langtry, a renowned beauty of the time, commissioned a set of bed hangings from The Associated Artists, showcasing the growing popularity of embroidery and the demand for bespoke art objects among the wealthy elite.

Terms:

Crewelwork: Embroidery using thick wool yarn, often dyed with natural dyes, for decorative designs on linen.
Indigo: A natural dye, extracted from plants, that produces a range of blue colors.
Moravian embroidery: A style of embroidery known for its delicate satin stitch, using fine twisted silks and flosses on satin, often depicting beautiful flowers.
Satin stitch: A type of embroidery stitch where the threads are laid side by side, creating a smooth, satin-like finish.
Kensington stitch: A type of embroidery stitch, also known as tent stitch or feather-pen stitch, where the needle goes over and under the threads of the fabric, creating a dense and textured effect.
Berlin woolwork: Cross-stitching with colored wools or silks on canvas, often used for furniture coverings and pictures.
Needle weaving: A technique for creating tapestries using a needle as a shuttle to weave silk threads on silk canvas.
Tapestry: A type of woven fabric, often with intricate designs and patterns, used for wall hangings and other decorative purposes.
Bobbinet: A type of lace made with bobbins, used for veils, collars, and other decorative applications.
Appliqué: A technique where pieces of fabric are cut and sewn onto another fabric to create a design.

Examples:

Native American quillwork: The Sioux Indians used porcupine quills to create intricate designs on deerskin shirts, moccasins, and pipe bags. These designs often featured geometric patterns, lightning flashes, water waves, and other natural motifs.
Crewelwork: Early American women used crewelwork to create bed hangings, mantel valances, table covers, and stand covers. These designs often featured roses, pinks, and other flowers in a variety of colors.
Moravian embroidery: The Moravian Sisters of Bethlehem, Pennsylvania, created beautiful flower embroideries using satin stitch on satin backgrounds. These pieces were often commissioned by wealthy families and used for personal items such as pocketbooks, pincushions, and bags.
French embroidery: French embroidery was used to embellish gowns, slips, sacques, collars, capes, and even baby’s caps. These designs often featured delicate lace stitches, scalloped borders, and sprigs of flowers.
Berlin woolwork: Berlin woolwork was used to create chair and sofa covers, footstools, and even framed pictures. These designs often featured flowers, animals, and other subjects.
Needle weaving: The Associated Artists created tapestries using needle weaving techniques, including “The Miraculous Draught of Fishes,” a faithful reproduction of Raphael’s original cartoon, and “The Winged Moon,” a design featuring an ideal figure of the moon lying in a cradle of her own wings.
Bayeux Tapestry: This intricate embroidered record of the Norman Conquest of England features scenes of the death of Edward the Confessor, the embarkation of Harold, the Battle of Hastings, and the coronation of William the Conqueror.
“Blue-and-white” crewelwork: This style of embroidery was often used to create table settings of snow-white or cream-white homespun, scalloped and embroidered in lines of blue crewels.
“Stuffed work” quilt: This type of quilt featured designs worked on two surfaces of cloth, with the upper surface of fine cambric and the lower surface of coarse homespun. The design was then stuffed with cotton to create a raised, three-dimensional effect.
Picture embroidery: This form of embroidery involved creating pictures using needlework on satin or linen. Subjects ranged from Bible scenes and landscapes to family portraits and memorial pieces.

Conclusion:

The development of embroidery in America is a rich and multifaceted story. It reflects the creativity, resourcefulness, and changing social and economic conditions of the nation throughout its history. From the early Native American quillwork to the revival of embroidery in the 19th century, needlework has served as a means of self-expression, cultural preservation, and economic empowerment for women. This book highlights the diverse techniques, materials, and styles that emerged, showcasing the ingenuity and artistry of American embroiderers over the centuries. It also underscores the historical significance of embroidery, not only as a form of decorative art but also as a powerful medium for documenting events and preserving traditions.

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