FRANCAIS - ENGLISH
Art du vêtement - - -
Carine Kool
La broderie, un art révolutionnaire ?
La broderie, un « art naturellement révolutionnaire » ou l’usage de la broderie par les artistes contemporains.
Amateur
Expert
Notes
Notes
| Numéro | Note |
| 1 | “In this book I examine the historical processes by which embroidery became identified with a particular set of characteristics, and consigned to women’s hands. By mapping the relationship between the history of embroidery and changing notions of what constituted feminine behaviour from the Middle Ages to the twentieth century, we can see how the art became implicated in the creation of femininity across classes, and that the development of ideals of feminine behaviour determined the style and iconography of needlework. To know the history of embroidery is to know the history of women.” Parker, Rozsika.The Subversive Stitch.Embroidery and the Making of the Feminine. Reprinted edition of 1984. New York: Routledge, 1989: vi. Print. (Traduction personnelle) |
| 2 | “It [embroidery] has promoted submission to the norms of feminine obedience and offered both psychological and practical means to independence. Colette describes observing the latter process in her daughter. She writes, ‘...she is silent when she sews, silent for hours on end... she is silent, and she – why not write it down the word that frightens me – she is thinking’.” Parker, Rozsika.The Subversive Stitch.Embroidery and the Making of the Feminine. Reprinted edition. London & New York: I.B. Tauris, 2012: xix. Print. (Traduction personnelle) |
| 3 | “The range of twentieth-century embroidery is enormous. It is practised professionally by artists, dressmakers, embroiderers, teachers, and by millions of women as a ‘leisure art’.” Parker, 1989: 189. (Traduction personnelle) |
| 4 | “The artists involved in Dada, Surrealism and Russian Constructivism believed that the end to distinctions between the fine and applied arts would create an art relevant to the lives of the masses of the people – and infinitely richer in itself. Although all three movements manifestly failed to achieve their ideals, for different historical reasons, they opened up a space for women artists. Women’s particular skills and traditional areas of activity in the domestic sphere, previously thought to be beneath the concern of the fine artist, were accorded a new importance.” Parker, 1989: 190. (Traduction personnelle) |
| 5 | “Embroidery is more natural than oil painting, the swallows are embroidering the sky for thousands of centuries, there is no such thing as applied art.” Parker, 1989: 191. (Traduction personnelle) |
| 6 | “Limited to practicing art with needle and thread, women have nevertheless sewn a subversive stitch – managed to make meanings of their own in the very medium intended to inculcate self-effacement. For women today, the contradictory and complex history of embroidery is important because it reveals that definitions of sexual difference, and the definitions of art and artist so weighted against women, are not fixed. They have shifted over the centuries, and they can be transformed in the future.” Parker, 1989: 215. (Traduction personnelle) |
| 7 | Chantraine, Pierre. Dictionnaire étymologique de la langue grecque. Nouvelle édition. Paris : Klincksieck, 2009: 496. Print. |
| 8 | Oxford English Dictionary: A New English Dictionary on Historical Principles. Ed. James A. Murray, Henry Bradley, W. A Craigie and C. T Onions. 12 vols. 1st edition 1933.Oxford: Clarendon Press, 1961: VIII 1345. Print. |
| 9 | “The Emergence of an Art Language for the Millennium.” McFadden, David Revere. Pricked: Extreme Embroidery. Process+Materials2. Catalog published in conjunction with the exhibition. (8 Nov. 2007 – 9 Mar. 2008). New York: Museum of Arts and Design, 2007: 8. Print. (Traduction personnelle) |
| 10 | “The pleasure of making and the communication of meaning is vital in the work of each artist in Pricked: Extreme Embroidery. These are artists that have chosen embroidery as the most direct way to bring their artistic visions to life. A return to materiality in art practice is indicated by the work presented by each artist; it also documents a shift in the way art functions in our lives. These works suggest that the real can trump the virtual, that low-tech activities can be as impressive as high-tech systems that personal visions are as valid as generic pronouncements and that process and materials carry their own meaning in contemporary art.” McFadden, Pricked : 97. (Traduction personnelle) |
| 11 | Jullien, François. De l’intime. Loin du bruyant Amour. Paris : Grasset, 2013 : 22, 32-33. Print. |
| 12 | Jullien, 32-33. |
| 13 | Trentini, Bruno. “Pour une immersion non transparente.” Les figures de l’immersion. Ed. Bernard Guelton. Rennes : Presses Universitaires de Rennes, 2014 : 35. Print. |
| 14 | Jullien 32-33. |
| 15 | “The things that I’ve sewn feel different for me.” Fortnum, Rebecca. Contemporary British Women Artists: In Their Own Words. Londres: I. B. Tauris, 2007 : 57. Print. (Traduction personnelle) |
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