by Rita Vainius
Let's start out by saying, "It's not your grandmother's
needlepoint!" Many stitchers are familiar with the traditional
needlepoint of the past - shaded roses or other flowers with
the background filled in with either black, maroon, green, navy
or beige. They were ubiquitous - displayed on dining room chairs,
a piano bench or footstool. In many cases, the stitcher of old
even bought the canvas with the flowers already worked, requiring
her to just fill in the background with tapestry wool in a tent
stitch. My, how things have changed, and all for the best! Contemporary
needlepoint is fresh, new, inspired, invigorating, experimental
and innovative. The technique now encompasses a wonderful variety
of disciplines. No longer are stitchers confined to tapestry
and/or Persian wool or the other old stand-bys - pearl cotton
and embroidery floss. Today's market offers a huge array of glorious
fibers from fine wools and cottons to silks, linens, novelty
threads as well as paper, fabrics, ribbons and threads that have
been overdyed. Not to mention the explosion of charms, beads
and other embellishments to choose from. We aren't even confined
to "needlepoint" stitches, intriguing as they are.
Today's needlepoint features techniques borrowed from Hardanger,
blackwork, drawn and pulled thread work and surface embroidery.
For some insight into what and where needlepoint is today,
The Caron Collection is proud to display works designed and stitched
by some of the ribbon winners from the 1999 National Exhibit
of the American Needlepoint Guild held in Atlanta, Georgia. We
extend special appreciation to Gail Sirna for her descriptions
of these exceptional pieces of needlepoint.
Note: all the designs are shown above
the name, designer and descriptive copy.
Among the Leaves - designed and stitched by Jean
Udd
A fabulous non-traditional example of canvas work employing
fabric manipulation, needlelace over a wire frame, overcast plastic
rings, sheer ribbons on a gently color-washed canvas. This piece
could be considered avant-garde and iconoclastic.
Butterfly Box - designed and stitched by Pat Morse
This box is constructed of a color washed Lugana lightly
embellished with a gossamer butterfly, whose organza wings are
stitched onto a fine wire. Flowers of ribbon embroidery, surface
work, and needlelace are employed along with unusual objects
such as washers, covered with fine stitching. This is a wonderful
example of needlepoint taken totally away from the traditional.
Emperor's Coat- stitched by Brenda Hart
Designed by Joanne Frerking
Adapted to needlepoint canvas for Brenda by Waly Young
This exciting piece of needlepoint was adapted from a painting
by Joanne Frerking with her permission. It is worked mostly in
conventional canvas work stitches and relies on the dramatic
effect of color for its impact. Numerous threads, lovely beads,
and an unconventional use of glittering or nué are beautifully
combined in this eye-catching piece
Arbor Day Inspiration stitched by Stephanie Mallozzi
Designed by Sue Newhouse
Adapted to needlework by Stephanie Mallozzi
The artist used an interesting bookmark as her design source
and took it to new heights of embroidery expression. She carefully
achieved perspective by the texture, sizing, and placement of
her stitches but also innovatively added a layer of sheer silk
to create a misty impression. This piece is stitched in silk,
hemp, and pearl cotton. Though stitches are basic, they are extremely
effective.
Bargello Symphony- stitched by Penny Boswinkle
Designed by Loretta Spears
This piece is stitched from a chart by Loretta Spears on
fine rose Congress cloth with the most delicate and beautiful
threads and beads. It is notable for the lovely use of color,
the exquisitely laid stitches, and the subtle use of metallics.
The charted design intrigues the stitcher with its use of stitch
patterns assembled in an abstract fashion.
Poppies - stitched by Pat Dowse
Designed by Jean McIntosh
Of all the pieces in the 1999 Exhibit this comes closest
to being traditional needlepoint. The design consists of intricately
shaded flowers all worked in tent stitch (either Continental
or Basketweave) and was taken from a chart. That is where the
similarity ends. This lovely example was stitched on 40 count
silk gauze in various cotton flosses and is especially notable
for the stitcher's prowess in leaving no telltale lumps or bumps
when changing colors - not an easy achievement.
Camelot stitched by Susanne Nash
Designed by Catherine Coleman who dedicated the design
to the memory of Jacqueline Bouvier Kennedy Onassis - 1929 -
1994.
Victorian designs are popular with today's needlepointers because
of the lavish use of ribbons, metallic threads, raised stitches,
and especially the extravagant use of beads. This pillow, worked
from a charted design by Catherine Coleman is especially notable
because of its finished shape as a bolster pillow. This design
could be considered traditional but its interpretation is definitely
late 20th century.
Spirit of the Southwest by Carol Cardoso
Designed by Susan Portra
This charted design by Susan Portra was interpreted by the
stitcher in the subtle colors of the Southwest. It encompasses
many textured stitches and eyelets embellished with much long
overstitching. Samplers from charts offer the stitcher an attractive
predictable design, which challenges her knowledge and facility
with stitches.
Mindy's Flower - stitched by Victoria Nessel
Designed by Mindy of Mindy's Needlepoint Factory
This painted canvas design is superbly stitched completely
in tent stitch. Especially remarkable is the very fine degree
of shading in the flower achieved with careful and extensive
blending of threads. This piece is an excellent example of a
traditional design skillfully rendered to achieve its maximum
potential.
Silhouettes - stitched by Amyee Johnson
Designed by Gay Ann Rogers
The design is executed primarily in blackwork patterns that
are similar, but not identical, in the two halves. Simple tent
stitch and straight stitches enhance this design and some goldwork
elements are included. Gold paillettes and pearl beads are also
used. This very up-to-date interpretation of a classic art form
is a design by Gay Ann Rogers and superbly worked by Amyee Johnson.
Visions of Sugarplums - stitched by Donna Neilson
Designed by Jean Hilton
This eye-popping and intricately detailed Christmas stocking
is a Jean Hilton design using innovative stitches devised by
Jean herself. It provides exciting stitch challenges with many
imaginative stitches, featuring coloring that is balanced, yet
commanding. In addition to the usual array of cottons, silks,
rayons, and metallic threads the stitcher has embellished it
with genuine Austrian crystals.
My Sister and Me - designed and stitched by Gail
Sirna
Inspired by the cover of a Nieman-Marcus catalog, Gail Sirna
depicted 1940's childhood as a primitive design. The children
are worked in traditional needlepoint stitches, with some raised
effects achieved by silk gauze appliqué (the doll), the
use of ribbon, and highly textured stitches such as Chinese Knot
(the curly hair). Flowers are executed mostly in embroidery stitches
such as bullion, buttonhole, lazy daisy, and French knot. .
For more winners of the 1999 ANG National Exhibit and for
what they and the winners above have to say about their own works,
go to:
http://www.needlepoint.org/WhatIs/1999.htm
For more information about the American Needlepoint Guild,
see their website at:
http://www.needlepoint.org
To see the winners of the National Exhibit which took place
from September 1 to September 8, 2000 at the Kansas City Hyatt
Regency Crown Center, check the ANG website around January 1,
2001.
Future Seminars are planned for 2001 and 2002. The committees
for these seminars are busy organizing, planning, and working.
Mark these dates on your calendar now and see the Exhibit in
person!
August 31 to September 9, 2001 - Washington, DC Hyatt Regency
Crystal City, Virginia
September 20 to September 29, 2002 - Albuquerque Hyatt Regency
Albuquerque and Doubletree Hotel Albuquerque
The Caron Collection would like to extend special thanks
to ANG National President, Diane Trobaugh, and Director for Educational
Services, Susan Davis, for their extensive assistance in making
this exhibit possible.
