Saturday, September 20, 2008

Kiowa Pochoir Prints

Greeting of the Moon God, 1929 - Jack Hokeah

Greeting of the Moon God by Jack Hokeah



Hummingbird dance, 1929 - Jack Hokeah

Hummingbird Dance by Jack Hokeah



native American pochoir print by Jack Hokeah

Kiowa Priest in Prayer by Jack Hokeah



Buffalo dance, 1929 - Jack Hokeah

Buffalo Dance by Jack Hokeah



pochoir print of American Indian dance ritual by J Hokeah

Ceremony Dance by Jack Hokeah



Self portrait dancing, 1929 - Spencer Asah

Self portrait dancing by Spencer Asah



Eagle dance, 1929 - Stephen Mopope

Eagle Dance by Stephen Mopope



1929 colour print of American Indian Eagle dance

Eagle Dance by Stephen Mopope



illustration of native American in traditional costume with flute

Flute Player by Stephen Mopope



Kiowa warrior on horse and wife standing by : American Indian print, 1929 - Stephen Mopope

Kiowa Warrior and Wife by Stephen Mopope



Squaw dance - native American illustration

Squaw Dance by Stephen Mopope



Medicine dance, 1929 - Monroe Tsatoke pochoir print

Medicine Dance by Monroe Tsatoke



Warrior wearing black clothing, 1929 - illustration by Monroe Tsatoke

Warrior Wearing Black Clothing by Monroe Tsatoke



pochoir illustration of 2 native American Warriors in dynamic pose 1929 - Monroe Tsatoke

Warriors by Monroe Tsatoke


[All images © the Estate of the respective artist]


"The Kiowa Five were a group of painters who earned national and international acclaim during the early twentieth century. The group actually consisted of six individuals, Spencer Asah, Jack Hokeah, Stephen Mopope, Monroe Tsatoke, Lois Smoky, and James Auchiah.

A number of the artists attended St. Patrick’s Mission School in Anadarko, Oklahoma, where they received art instruction from Sister Olivia Taylor. Susan Peters, a government field matron, also took an interest in the young artists' work. She arranged for an artist from Chickasha, Mrs. Willie Baze Lane, to provide art lessons. Eventually Ms. Peters persuaded Dr. Oscar Jacobson, head of the school of art at the University of Oklahoma, to provide additional training for the artists.

In 1926, Asah, Hokeah, Tsatoke, and Mopope arrived at the University. The artists were not officially enrolled, but they received special instruction from Jacobson and Dr. Edith Mahier, another professor in the school of art. In January 1927, Lois Smokey, a young Kiowa woman, arrived to study with the other artists. In spring, the artists were compelled to return home to attend to agricultral pursuits. They returned in the fall, accompanied by James Auchiah, the sixth and final student. Shortly thereafter, Lois Smokey withdrew from the program and returned home.

Dr. Oscar Jacobson arranged for the Kiowa artists’ paintings to be exhibited in 1928 at the First International Art Exposition in Prague, Czechoslovakia. In 1929, Kiowa Art, a portfolio of the artists' paintings was published in France."
Jack Hokeah was born in 1902 in western Oklahoma. He attended St. Patrick's Mission School in Anadarko, Oklahoma. He died on December 14, 1969.

Spencer Asah also known as Lallo (Little Boy) was born between 1905 and 1910 near Carnegie, Oklahoma. He attended various government Indian schools and St. Patrick's Mission School, Anadarko, Oklahoma. He died in 1954.

Stephen Mopope also known as Qued Koi (Painted Robe) was born on August 27, 1898 near Red Stone Baptist Church on the Kiowa Reservation. He attended St. Patrick's Mission School in Anadarko, Oklahoma. He died on February 3, 1974.

Monroe Tsatoke also known as Tsa To Kee (Hunting Horse) was born September 29, 1904 at Saddle Mountain, Oklahoma. He attended Rainy Mountain Indian School near Carnegie, Oklahoma and Bacone College. He died on February 3, 1937.

Kurtzweil Satires

woodcuts: cow conductor + goat on flute AND wolf crowns pig


woodcut illustrations: knight rides lobster + child rides rooster


dancing bear and friar in vase riding a bird


man in tub unravels yarn AND rabbit as jockey on snail


dog in cylinder AND hat-wearing goose hanging in bag


man rides bird AND cow plays bagpipes: 16th century woodcut illustrations


swine plays organ, frog plays drum AND ass plays drums


absurdist woodcuts from Kurtzweil by J Wickram 1550 e


absurd satirical illustrations featuring jesters or fools


armored rabbit waves flag AND goat plays lute


woodcuts: 4 absurd anthropomorphic satires


Jörg Wickram (~1505-1562) was a German writer from the Alsace region (now France) who straddled the Renaissance and Early Modern periods of literature development.

Wickram's versatile output ranged from translation work (he translated Ovid without knowing any latin) to poetry, dramatic narratives and collections of humorous anecdotes (Schwank) that drew influence from Sebastian Brandt's 'Ship of Fools' (1494), animal fable satires and the medieval minnesang tradition (seen here recently). Although these collected tales were popular, Wickram is perhaps best known for producing the earliest forms of the novel in German literature.

'Kurtzweil' (1550) is a lesser known work of poetry in the vernacular German by Wickram, featuring crude anthropomorphic woodcut illustrations, reminiscent of (but predating) Le Monde Renversé satires. There is next to nothing by way of commentary around online, but I think it's a fairly safe bet that 'Kurtzweil' belongs to the satirical/moral body of Schwank anthologies, prevalent in 16th century German literature.

Tuesday, September 16, 2008

Lace Modelbuchs

The Praise of the Needle

"To all dispersed sorts of ARTS and TRADES,
I writ the Needles praise (that never fades)
So long as Children shall be got or borne,
So long as Garments shall be made, or worne,
So long as Hemp or Flax or Sheepe shall beare
Their linnen-woolen fleeces yeare by yeare;
So long as Silk-wormes, with exhausted spoyle,
Of their own Entrailes, for mans gaine shall toyle:
Yea, till the world be quite dissolv'd and past;
So long at least, the Needles use shall last.."
[John Taylor, 1640]


Rosina Fürst - lace modelbuch Titlepage


flower and birds design for lacemaking


lacemaking design (?)bees


flower pattern sewing


lace pattern


geometric lacemaking design


geometric lacemaking pattern


lacemaking pattern book titlepage


patterns with Swans

[Perugia towels with designs modelled on this pattern]


lace modelbuch - Imperial Eagle


lacemaking design - griffin


lace design with unicorn


winged dragon lace embroidery design


16th century lacemaking modelbook Titlepage


lacemaking Alphabet design


lacemaking pattern


lacemaking doily design


embroidery sewing lace tapestry design


lace sewing pattern monograms


lace and sewing pattern


Oddly enough, searching for information using:
"modelbuchs, history and lacemaking for blokes who know absolutely zero about embroidery, needlework or lace and could not tell the difference between 'punto in aria' and 'reticella' if the welfare of all the children in Africa depended on it"
yields less than satisfactory background reading material. Larger, unseen forces are at work of course. I should know by now that any attempt after midnight to wrestle a totally unfamiliar topic into a couple of digestible paragraphs that have a veneer of formality and authority is bound to fail.

I have managed to glean the following: lace-making has a complex history and even from cursory reading, it very quickly becomes a matter of semantics; various forms of the craft share a common heritage with other needle-based disciplines. If we just completely skip the pre-1500 era altogether we can make the generalisation that lace work (in the physical styles and forms we all know) became popular across Europe during the 16th century.

Evidently, the first pattern book (modelbuch) featuring designs that could be sewn (?tatted) to produce lace was published during the 1520s. As with all of this genre of craft books, some of the patterns could be versatile - perhaps for use in rug-making or embroidery - while others were conceived specifically with lace-making in mind.

Needless to say, there were a number of modelbuchs released to keep up with the burgeoning popularity and, as best I can tell, the majority of these were published in the second half of the 16th century and throughout the 17th century. As can be seen in the above examples, patterns were derived from nature (flowers and animals), variable geometric shapes (sometimes derived from classical design styles) and mythological figures, such as griffins, dragons and unicorns.

Rather than embarrassing myself further by making up more balderdash, here are the links to the three - newly or recently digitised - books above...
Everything written above can be taken as code, also, that I didn't find much around that I think is worth reading on the history of modelbuchs or lace-making in general, and these books above in particular. It's just me, I'm sure. Doubtless there are wonderful resources around.

All the images above were background cleaned, to one degree or another, of age-related staining. Click on any image and then "All sizes" for a larger version.

 
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