ATV assignment two – Observing and Capturing- Selecting and identifying

1.1 The Archive – delving into tradition

I love this task:  Find out about some archive textiles and draw them. My biggest difficulty in the past has been choosing what to draw – ATV really helps with that tricky decision making process.

Thinking about the creative possibilities of the textiles discipline, an important part of your study of textiles is to experience, analyse and reflect on physical textiles and materials. The more hands-on experience you have of textiles, the greater your awareness will become of the material possibilities and limitations, as well as the stories and messages you might create from them. Handling different materials will increase your sensitivity to their qualities, properties and construction and to the creative possibilities of working with, manipulating or developing your own materials. During this course you should aim to build on your personal understanding and interaction with an extended range of textiles and materials. This will give you a strong foundation from which you can develop your own creative practice and further your own textiles vocabulary.

 

 

When I read the brief I immediately thought of a hill tribe jacket that I bought in Pai, Northern Thailand about 10 years ago. It is lovely and I have planned to find out more about it. I have little to go on but like the idea of playing detective. What I know about my jacket so far is it could be cotton or hemp, indigo dyed, woven on a back strap loom by one of the groups often referred to as Hill Tribes, I haven’t found much useful information on the internet so have ordered a useful looking book from a secondhand bookshop and will head to the library.

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1.2 Substance and story –  garment one – Hill Tribe jacket
 What is the textile made from?
The jacket is made from woven hemp or cotton – both fibres are traditionally used. There is no manufacturer’s label or an archival label to give me that information. I did a tiny burn test on a little frayed fibre and it turned to ash indicating a natural fibre,the cloth is quite textured with some slubs so I would guess that it it hemp rather than cotton.
How can the textile be cared for?
With no label I haven’t dared to wash or clean it in any way, I have considered hand washing it in cold water which is the method available to the person who made and wore the garment.
What methods have been used in its production?
The main fabric is woven, the jacket has been hand stitched, I can tell this from the size and placement of stitches. the selvedge edge is stitched closely to the edge, there are French seams where edges may fray. I can see back stitch and over sewing. The jacket has applied decoration in the form of embroidery – cross stitch, running stitch – buttons, beads, binding, Jobs tears – which are a type of seed.
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Is it hand-made or machine-made?
The traditional method for making the fabric is a back strap loom. The embroidered pattern involves long strips of tiny stitches. I can’t tell if this is entirely handmade or not. The construction is definitely hand stitched.

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What textile finishing methods have been employed?
The side seams and bottom have been bound, the binding fabric looks machine made and could be a poly cotton or cotton fabric. The embroidery has been made as a panel and this has been sewn to the jacket so I can not see the reverse of this.

I need to research more into how the embroidery is done.

Where is the textile from?
There are no information  labels or  archive information. The garment was purchased in a tiny town called Pai in Northern Thailand in 2004. Internet research was not very helpful. I have used several books for research and established that the style and construction is of the Akha people.
The Akah are one of the six distinct groups of people refered to as Hilltribes, Akah, Karen, Hmong, Mien, Lahu, and Lisu each tribe has its own language, dress, religion and historic background. Collectively, historically the different groups have lived in areas of the Golden triangle area of Northern Thailand, Northern Laos, southern Burma. Originally moving from south west and south-central China. I have started to uncover a complex and fascinating history, I hesitate to include too much detail. To summarise the tribes have  traditionally produced swidden fields ( slash and burn process) and gathered and hunted locally, moving on at intervals leaving fields fallow and local wildlife time to recover. In recent years they have been under pressure from several sides, change of land use for example low land farmers needing more space moving higher into the mountains creating dwindling areas of undeveloped land. Politics and war creating forced migration.
The Akah people have a strong desire for continuity and memorise the names of male ancestors in chronological order back to ‘the begining of human beings. The Akah depend on their ancestors for life food health, security and when they die their descendents will look upon them for the same.
I cant even begin to imagine that sense of tradition.
Is it possible to be sure where the fabric is from?
It is Akah tradition to hand spin cotton into thread, to weave on foot treadle loom and indigo dye fabric for their own clothing.

Fibre used to be grown locally but sometimes raw cotton is purchased from Thailand.

What problems have you encountered in trying to find out this information?
I found using the internet to research my particular jacket really difficult. Using books I found really useful information but it took some time to find the most useful information, it was incredibly easy to get side tracked and I did not remain as focussed on the task as I could. Sifting information to chose the important facts is difficult.
Why might traceability be important in textiles?
Traceability is enormously important. All of our choices involving getting new (or old) stuff has an impact somewhere. By buying that jacket am I contributing to the local economy or plundering someone else’s tradition? I am very aware of sustainability issues in textile production and ethical implications of low paid, child or slave labour. I make a considerable effort to make mindful choices.
What information are you missing and how might you find out more?
I am interested to find more about the embroidery techniques. I am hoping to take the garment to the curator of the World Arts gallery at Brighton museum to get a second opinion.
What other visual indications can you glean from closely examining the textile samples?
Akha girls embelish their clothing according to age, enabling a quiet dialogue with visitors and members of the same community, I have not been able to determine the age of the wearer of this jacket. The jacket is definitely well worn and is faded on the outside due to hot sun. Incredibly the Akha dress is worn for everyday tasks even though it it elaborate and ceremonial looking, it is not just a national dress it is everyday dress. The jacket is quite dusty around the hem, one section of an arm is a different shade of blue and the weave is slightly different, perhaps a donated piece of cloth? there are visible changes in colour along crease marks under the arms, but no sweat stains like you may find  in a vintage western garment, there are ventilation holes, perhaps this is why?  The side seam has split at some stage and hastily mended with just a couple of stitches, some buttons are missing, but in a regular pattern leaving behind shadows of un faded cloth, perhaps they were removed to be used else where? Or a button lost and the rest removed for symmetry?
It is well-worn and heavily used, but sturdy.
I have no idea of the age, some garments may use modern embellishments proving their lack of age but a lack of modern touches does not necessarily mean that this garment is old, it is from a living tradition, I can only estimate pre 2000??

I could learn more about the decoration and the rest of the outfits that Akha women wear at different stages of their lives.

Nostalgia is a recurring theme in textiles and within the broader spheres of design and art. Textiles have a special role to play, as we can attach memories, experiences and sensations, particularly to the wearing of textiles or their close proximity
Can you tell the story or guess the story behind the life of the textile?
Can you build up a story of the users or wearers of the textiles?

While in Pai I spoke with a German guy who had been working with the local community for several years. I was informed that a lot of Hill Tribe people were being forced off the land they had been farming  and gathering from higher in the mountains, by the Thai government and were selling textiles to raise money to get by. The lovely gentleman I bought my jacket off was super surprised that I didn’t haggle and I think I paid the equivalent of £15 which really seemed fair enough. I was attracted by the shape and embroidery and the romance of a very different culture to my own. Having read more about the Akah people I really admire their sense of community and feel envious of their sense of belonging and tradition. Although we consider slash and burn farming as quite destructive compared to our huge carbon footprints they tread lightly on the land and I romanticise about the less complicated lifestyle. Clearly its enormously hard work to grow, spin, weave, sew, embroider all your own clothes but it must evoke such a sense of pride  to follow such traditions. Young girls start to spin at the age of six and spin while completing other tasks! It is incredible to think how far from that life we are in the west and how much damage to the planet we have caused along the way. What a different tale we tell.

1.1 Selecting and identifying continued

The benefit of drawing something that belongs to me is ease of access and complete freedom to explore the garment thoroughly and at my leisure. I need to draw quickly, but I will have the luxury of no one looking over my shoulder!I fully appreciate the value of using an archive, to access things I don’t own, to discover things I don’t know about, to discuss with experts and tap into their specialist knowledge. Its a little intimidating though! I hope to be able to find a complementary garment at Brighton and Hove Museum, perhaps one of the Regency garments that uses cultural motifs from a distant land, I may draw a modern garment of my own that was made in a developing country ( I really try to avoid sweat shop products) this could be a good opportunity to investigate the modern clothing industry.

Coincidence number1-  While investigating who to contact at the museum I came across “bite size museum” talks there was one in the Fashion and textiles gallery with the curator Martin Pel. What a pain free way of making contact! The first talk; Lady Desboruogh’s Schiaparelli – the fashion and politics of Ethel Grenfell and the elite intellectual group The Souls, was fascinating, I made notes (in note book) but won’t record them here as quite off topic. I spoke to Martin about the course and he is more than happy to help! The only problem is that he is planning  a collecting trip and is unavailable until June. I really want to find out about a British tradition in textiles and the influence of other cultures on our fashion industry so will follow this up at a later date. On to plan B…….

Coincidence number 2 –  I came across a fair trade shop in an out of town location that I don’t usually visit. The owner had a small collection of Guatemalan Huipuil  that are made on back strap looms and heavily embroidered. They were collected by a friend of hers that buys them from a woman in Guatamala who was selling them to raise money to cover medical costs for her son. We had a lovely chat about what she knew about them,apparently they were a thing in Vogue magazine a couple of years. We agreed that they were no throw away fashion but amazing pieces of work. I fell in love with a blue striped example with beautiful bird embroideries around the neck. So I bought it to aid my education! The lovely lady gave me a discount and let me take photos of the rest of the rail.

1.2 garment two – substance and story – Guatemalan Huipil

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What is the textile made from?
Cotton , metallic fibres, embroidery thread, ribbon.
Is there a manufacturer’s label or an archival label to give you that information?
There is no label, I did a burn test on a stray fibre from the hem to establish that it is a natural fibre.
How can the textile be cared for?
I would image it can be hand washed, the fabric has a cloudy effect, I don’t know if this is deliberate or the colour running when it has been washed. It would be a terrible shame if the embroidery shrank but a dry cleaner would not take it without a label. I have found reference to washing traditionally been done  on the stones of lake
How is it made?
I believe that it is probably woven on a backstrap loom. The embroidery around the neck is definitely done by hand and the hems at the bottom have been machine stitched.

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Where is the textile from?

I was informed in the shop that the garment was collected from Chichicastananga,  browsing on-line I have discovered that styles of  Huipil are very specific to an area or village. I have managed to establish that it matches the designs associated with a town called Santiago Atitlán.

With an enduring traditional Tz’utujil Mayan lifestyle, Santiago Atitlán is the most visited lakeside settlement outside Panajachel. Women weave and wear huipiles embroidered with brilliantly colored birds and flowers, and the town’s cofradías (Mayan religious brotherhoods) maintain the ceremonies and rituals of Mayan Catholicism.

Santiago Atitlán is home to a much-revered, cigar-smoking version of the popular Guatelaman deity Maximón, who is paraded around during Semana Santa (Easter) – offerings of cigarettes and rum are appreciated at any time. There’s also a thriving art and crafts scene, especially on market days (Friday and Saturday), as well as weaving demonstrations. The village is on the south side of the lake and can be reached by regular ferry from Panajache.

Read more: http://www.lonelyplanet.com/guatemala/the-highlands-lago-de-atitlan/panajachel/sights/markets-bazaars/santiago-atitlan#ixzz3bQjp3YF9

I would very much like to visit!

There are no labels on the garment , I have no reason to believe that my Huipil is not from Santiago Atitlán. I am aware that often copies of textiles are made and sold as authentic garments.

Huipil Story

 My huipil is a well worn and sturdy garment, the fabric is thick yet soft with a nice drape. I can tell that it has had side seams at some point , there is a little bit of disturbance to the weave and a repair on one side. I watched some tourist clips on you tube of the markets and observed that many people are still wearing traditional dress. The huipil is sewn at each side (but not cut) and worn tucked into a woven skirt with a broad fabric tied belt, I am unsuccessfully trying to re-find a web site that had loads of information about traditional Guatamalen dress and spoke of weaving and embroidery still being passed down as a skill through the generations.

My Huipil has metallic threads which dates it after 1976 as a traditional garment I can not say further than that. I was told that the woman who sold the huipil as one of a number was selling them to raise money for medical expenses for her son who had been shot. some of the other huipil in the shop where I bought mine from were clearly from different towns as they used different colours and techniques.
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 I could spend hours researching the different techniques used in Guatamallan huipil, they are fascinating and beautiful. These have been made using brocade weaving to create the designs, the fabric is a lot stiffer, it looks like an incredibly complex process.
Apparently after the Spanish conquest villagers were instructed to wear a particular colour so that there movements could be observed, hence the local variations, I like the story that the colourful designs were developed as rebellious response to this, how true this is I don’t know. The weavings and embroideries certainly contain significant use of symbolism and story telling that has passed through the generations.
I think that it is really interesting how similar the huipli is to the traditional clothing of the Karen people, one of the six Hilltribe groups.

There are distinct similarities in my first 2 chosen pieces -locally made, woven on back strap loom, made to be worn by the maker. Traditional style still worn by local people. In both cases the dress remains pretty much the same as generations ago. In Guatamala the women have more freedom of movement and happily wear designs from other areas, they sometimes use machine woven cloth or commission others to make , particularly the ceremonial clothes. In both countries elements of the modern world can creep in, accessories, modern threads and dyes etc.

There is a World Art gallery at Brighton museum I was hopeful that I would be able to find textile piece number 3. My luck was in, there is an exhibition of Burmese textiles ( many different Thai Hill Tribes migrated from Burma) I am going to work with my first two pieces and then visit the museum to find out more, and do some on-site drawings.

1.2 garment three Kachin costume – Substance and story

What is the textile made from?
The costume is made from cotton, glass, plastic, jobs tears seeds , cane, and silver.
The outfit in the exhibition was really clearly labelled, archival labelling made my job soooo much easier!
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I also know that it is by a contemporary Kachin designer called  San Bawk Ra who creates Kachin style fashion for Burmese pop stars and celebraties. Made in Yangon,  Burma in 2011 it was created for Brighton museum and based on a traditional design associated with the Zaiwa people, who are one of the six Kachin ethnic groups.
 What methods have been used in its production?
 The skirt looks handwoven it has a diamond pattern woven into the fabric, and sewn on end panels of what looks like machine woven cloth. It is decorated with square plastic buttons in decorative rows and jobs tears.The top is knitted jersey fabric embellished with glass and plastic beads, and some silver half domes with chains and flat, kite shaped ,silver stamped drops.there is a belt of many loose plastic and cane hoops, some are wrapped in cotton thread in cross patterns.
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Kachin costume story

In the video accompanying the exhibition I learnt a little about the diminishing numbers of Kachin people and their very strong sense of tradition.

The focus of the exhibition is the Manau festival, this is where Kachin people gather and really importantly dance the manau. The manau is a dance in a long line led by four leaders and shows unity , its brings the people together through participation and shows respect for the leaders and Kachin ancestoty.

Wearing Kachin dress is a really important part of  the manau festival and people buy new clothes from the local market of have them made by local weavers and tailors. Young people honour the traditional dress but it is perfectly acceptable to adapt or customise in some way , this seems to be a way of giving younger generations ownership of the tradition and perhaps makes the traditional dress acceptable to the fashion conscious youngsters (also injects more cash into the local economy!)

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These new garments are based on traditional costume.

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Nostalgia or No?
Do you feel any sense of nostalgia in relation to any of the three examples you have chosen? If so, why? If not, why not?
I do feel a sense of nostalgia, but it is difficult to pin point as I’m not sure of my expectations. I have a strong sense of self (perhaps!) and value my individuality but don’t feel that I have a strong sense of cultural identity, can we have things both ways? I embrace being part of a multicultural society and all the textures and choices that brings but I want a more direct route to my ancestory. I want a special costume and dance and right of passage, I want it all ! I’m unclear whether this is important but when looking at the communities that I have researched, as an outsider I really like that sense of tradition and passing things on, remembering and valuing ancestors, we don’t as a whole do this. We have bowler hats and fish’n’chips, I feel short changed. My thoughts, particularly post election are that the UK as a whole is very selfish and a bit more community spirit wouldn’t go amiss, I realise that there are some really strong communities around the country but really I think we have lost our way, or is it just me?
I have just realised why the learning log is so important, it’s like therapy! I can’t stop on this thread and its going way off track! I’ve no idea if the above paragraph makes sense , its very jumbled, I must leave it there to come back to and think on some more  at a later date. I am going to mind map my ideas on identity in my note book.
Was this a conscious decision when choosing your samples? Or could it have perhaps been an unconscious decision in your selection?
I chose the Akah jacket because it fitted the brief and was available, also it reminds me of a long year travelling and gaining independence. I wanted to compare it with a British garment but just couldn’t find one of the same significance
Do you feel that any of your three examples reflect any sense of heritage, whether your own or someone else’s? If so, why and in what way? If not, why not?
Clearly all three garments reflect a sense of heritage, they have also opened a whole can of worms of my own!

ATV assignment two – Observing and capturing -What do we mean by textiles?

In your own words, write a definition of ‘textiles’ in its broadest sense. What materials do you consider to be ‘textile’ materials? When is a material not a textile? Can you identify any examples?
The first thing I think of is the wealth of fabrics available to be used for clothing, furnishings, structures such as tents and sails. There are many ways to create a fabric. I’ve just been side tracked into creating a mind map and as well as the obvious plant/animal/petro-chemical based fabrics,traditionally made by weaving, knitting, felting, tanning;  we need to consider new technologies such as laminating techniques, laser cutting and 3D printing.
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This is part of the Creating Luxury exhibition at the V&A, it perfectly showcases new technology and interestingly uses plastic as a luxury fibre.

This paper dress by Dispro (Meyersohn and Silverstein Ltd) 1967 demonstrates how textile design has always been at the forefront of technology,  materials often developed for space, exploration or military use, then filtered down into the mainstream.
This was an early use of Tyvec type material, celebrated as the potential future of fashion, perhaps the first concept of throw away society.
Textiles have always had medical uses, from sinew stitches, through bandages, to heart valves, perhaps not immediately considered textiles but my thoughts have led me to consider for a moment that as textile techniques are used in the process , then things are textile products.

I have not yet written a definition.

“Textiles are objects made from or with materials that are in some way flexible.”
I’ve tried to elaborate but objects then get ruled out e.g manufactured seems to rule out the precious work of spiders, Kevlar body armour would seem to fit into textile category, as would chain mail. Bike helmets use fibreglass which is certainly a fibre, not flexible as an end product though. Very confusing .
‘Textiles’ is difficult to define. The study of textiles may cause us to follow many threads or spin our own. What a fascinating journey.
My computer dictionary says this ;  A textile[1] or cloth[2] is a flexible woven material consisting of a network of natural or artificial fibers often referred to as thread or yarn. Yarn is produced by spinning raw fibres of wool, flax, cotton, or other material to produce long strands.[3] Textiles are formed by weaving, knitting, crocheting, knotting, or pressing fibres together (felt).The words fabric and cloth are used in textile assembly trades (such as tailoring and dressmaking) as synonyms for textile. However, there are subtle differences in these terms in specialized usage. Textile refers to any material made of interlacing fibres. Fabric refers to any material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods (garments, etc.). Cloth may be used synonymously with fabric but often refers to a finished piece of fabric used for a specific purpose (e.g., table cloth).
In what ways could textiles have stories or narratives attached to them? There is a lot you could think about here, both in terms of the story of or behind the textile and the story potentially told by the textile. Try to give some examples.
Clothing is … an exercise of memory… It makes me explore the past… how I feel when I wore that…
(Louise Bourgeois)
www.moma.org/explore/collection/lb/themes/fabric_works
The Louise Bourgeois quote resonates within me. Personal items of clothing hold memories more than photographs, as they engage more senses- touch and smell as well as visual clues. I am certainly guilty (don’t actually feel guilty!) of keeping items of clothing for sentimental reasons rather than practical and when I come across them I am transported and reminded of life’s journey.
When I see vintage textiles I am drawn to consider their story. Western clothing is very much a political , social, economic and technological history of our society. A record of rebellion and subjugation. Changing times. Textiles ,both fashion and interiors are markers of time that are closely entangled with music and art, books and graphic design.
 When I look at traditional clothing of peoples from some further flung places on the globe the tale is a very different one. I see strong cultural identity and a deeply rooted sense of belonging. Techniques passed through the generations, motifs and colours that are fluent communications. Deep connections with ancestors and responsibility to future generations.

 

Musee d’art Moderne de Ceret

Visit Easter 2015 www.musee-ceret.com.

Escaping the term time and house renovation chaos I was lucky enough to head to the south of France for the two week Easter break. Visiting the museum helped me make sense of the modern artists working in the south of France in the early 20th century- the colours and contrasts, shapes and subjects had been in my vision for days- the delight in the contrast between cold, damp Northern cities and the hot , arid, south is evident.

My note book says ‘Blue skies, so blue! surrounding mountain strata, limestone, evergreen oak, spring buds, yellow gorse,turquoise rivers, bare dancing grapevines embracing the wind! I was clearly charmed! It was a real treat towards the end of the journey to visit the modern Art museum in Ceret to drink in the art born of this landscape.

The main exhibition was of Sculptor Dani Karavan -an artist born in 1930 in Israel, who lives and works between Paris, Florence and Tel Aviv, a video interview  shows him as warm, humble, intelligent. Karavan creates site specific monuments with great consideration to the surroundings, subject, and local people, he seems a great negotiator.

“The monumental achievements of Dani Karavan,  draw their inspirations from different artistic fields and reflection on man and his environment: sculpture The monument, architecture, urban planning, nature. Conceived as spaces dedicated to commemorate the history and tragedies of the twentieth century, to highlight the fate of a site, to honor, to question the human condition, they are also places of life, reflection, meditation and communion with nature. They invite the visitor to a particular experience seeking at the same time his mind, his sensitivity and his feelings. Conveying a humanist and universal message, they have in common to advocate the values ​​of peace and tolerance. Dani Karavan is the creator of, Port Bou, Passages,  a tribute to Walter Benjamin, German writer and Jewish philosopher who ended his days in the small border town. Managing to reach Port Bou by a mountainous path, not without great difficulty, Walter Benjamin, fearing being returned to Vichy France by the Spanish authorities, committed suicide on the night of September 26, 1940.
The materials used by Dani Karavan are evocative of the spirit that guides his approach: the Corten steel, glass, but above all a natural vortex forming on the sea, an olive tree and a quote from Benjamin in tribute to anonymous victims of conflicts: “Honoring the memory of anonymous is a more difficult honoring famous people that task. The historic building is dedicated to the idea of ​​anonymous memory. ” -google translated from the museum website.
Passages looks a very powerful piece and I found the integrity of the project very touching, I was also very heartened by the sketches accompanying the models and photos- strong, very textural and powerful marks that were also quite simple and uncomplicated, doing the job of representing work but almost naive in nature.

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The exhibition also presented for the first time to the public the latest creations by Dani Karavan: a set of sculptures and bas-reliefs in concrete, evoking earthen architecture common to many cultures and the universality that connects these cultures together. The textures of the simple forms were just beautiful.

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Many of the works in the permanent collection were donated by the artists, I imagine in recognition of the way they were influenced by the surrounding landscape. I came to the exhibition from the small fishing port of Collioure nearby- the high place of Fauvism is their claim. In 1905, Henri Matisse and André Derain. (Matisse who resided there regularly between 1906 and 1914) invite their friends Marquet, Manguin and Camoin, to join them. it was remarkable walking around the artist trail in the port seeing the scenes painted by these artists, the unbelievably blue skies in the paintings are unbelievably blue! The streets and houses were made for the Fauvist style, it was amazing to gain the added understanding that looking at the landscape through my own eyes gave, aided by the air of relaxation and sleepiness that must have been such a contrast to the cold, damp, dirty streets of Paris in the north.
I shouted out loud in the gallery. To my shame. The curators were very relaxed and I think slightly amused. The painting Dona Ocell by Joan Miro was the source of my surprise, I had no idea that it was painted on really heavily crumpled brown paper.

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This gallery is truly about education and photos were allowed so here are the close ups, please excuse the reflections, seeing the real painting bought to mind the texture of the limestone rocks I’d been admiring for days, and the cave art that is so prevalent in southern France.

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I really was viewing the mark making process of the paintings so here are some lovely close ups of paintings that particularly caught my eye.
Many of the works were donated to the museum by the artists in appreciation of lessons learnt in the surrounding landscape. Picasso was such a supporter and it was a real treat to see his work in reality instead of represented on the page.

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 I don’t think that I have really seen his line drawings before.

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Seeing ceramics and how the image wraps around a 3D shape.

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I  really like the other worldliness of Chagall’s work, this image in particular.  It is over 2m wide and has an amazing presense, I had to stand back to enjoy the whole image but it’s even better close up looking at the textural marks on the canvas.

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Herbin is an artist that I haven’t come across before and I  like his composition, and I really like his colour pallate. It was really evident haveing walked around the town and surrounding landscape , how Herbin and the other artists in the exhibition were influenced by their surroundings, somehow expressing the rhythm of the buildings in the landscape and also the heat, quality of light, and spirit of the community.