Illustration: Mariska Karasz. Glorified Lemon Bag, 1950.
While the history of embroidery and the applique arts in general, is long and varied, it does not often find itself reflecting the world of fine art. Embroidery has long had a strong relationship with the decorative arts, finding a particularly popular outlet during the later Victorian Arts and Crafts movement and that of the Art Nouveau.
Some of the work produced by the Hungarian-American textile artist Mariska Karasz during the 1950s reflected the interest in and popularity of Abstract Expressionism by a number artists outside the constraints of fine art. Karasz produced a number of pieces that were much more conventional in tone, often influenced by American and indeed Hungarian folk art traditions. However, she also produced work that was purely abstract in temperament as these examples, all produced in the 1950s, show.
Some of the work produced by the Hungarian-American textile artist Mariska Karasz during the 1950s reflected the interest in and popularity of Abstract Expressionism by a number artists outside the constraints of fine art. Karasz produced a number of pieces that were much more conventional in tone, often influenced by American and indeed Hungarian folk art traditions. However, she also produced work that was purely abstract in temperament as these examples, all produced in the 1950s, show.
Illustration: Mariska Karasz. No Strings Attached, 1954.
The interesting point of abstraction within the context of textile art, and particularly where weave or applique is concerned, is that the eye cannot automatically focus on a known image, a bird or flower for example. The eye has to focus instead on the purely abstract concepts of colour combinations, thread variation, stitch size and a whole range of other factors that would not be immediately apparent if an easily recognisable image were used.
Illustration: Mariska Karasz. Alternate B, 1955.
This of course allows the textile artist to both experiment and develop ideas that are often purely based on colour and texture, without the constraints of imagery. Some of the pieces shown here do have a certain structure to them which gives them an element of discipline and therefore familiarity, while others are pure examples of informal experimentation and expression by the artist.
It is interesting to see embroidery used so freely. There is a genuine exploration on behalf of the artist in dealing with the juxtaposition of colour, tone and particularly texture which makes these pieces of special interest to anyone who wishes to understand embroidery and the general art of applique, but more importantly, they are valuable lessons in the use of stitch within a fine art context.
It is interesting to see embroidery used so freely. There is a genuine exploration on behalf of the artist in dealing with the juxtaposition of colour, tone and particularly texture which makes these pieces of special interest to anyone who wishes to understand embroidery and the general art of applique, but more importantly, they are valuable lessons in the use of stitch within a fine art context.
Illustration: Mariska Karasz. Dawn, 1955.
Anyone interested in finding out more about the career of this exceptional textile artist, should visit the website entirely devoted to Mariska Karasz. There is also a book dedicated to the work and career of Karasz by Ashley Callahan, a description of which can be found here. It was produced to coincide with the Georgia Museum of Arts exhibition of Karasz's work in 2007 and can still be bought online from the museum's online shop.
Further reading links:
Mariska Karasz website
Georgia Museum of Art
Modern Threads: Fashion and Art by Mariska Karasz
Adventures in stitches;: And more adventures-fewer stitches
The Good Housekeeping See and Sew: A Picture Book of Sewing
How to make growing clothes for your baby
Design and sew,
See and sew,: A picture book of sewing
A New Art of Embroidery: Adventures in Stiches and More Adventures, Fewer Stitches
Illustration: Mariska Karasz, 1956.
