{"id":537,"date":"2012-05-25T20:59:00","date_gmt":"2012-05-25T20:59:00","guid":{"rendered":"http:\/\/cinnamonstudio.com\/blog\/2012\/05\/25\/folly-cove-designers-2\/"},"modified":"2012-05-25T20:59:00","modified_gmt":"2012-05-25T20:59:00","slug":"folly-cove-designers-2","status":"publish","type":"post","link":"https:\/\/cinnamonstudio.com\/blog\/2012\/05\/folly-cove-designers-2.html","title":{"rendered":"Folly Cove Designers"},"content":{"rendered":"
\n<\/a><\/p>\n
\nDespite the overwhelming impact of industrial manufacturing
\nthere has always been interest in high quality, handcrafted articles.  First, in Europe \u201carts and craft ” societies
\nwere founded and flourished, then, in America institutions such as Black
\nMountain in North Carolina, Berea College in Kentucky and  Cranbrook Institute in Michigan were
\neducating artists in the crafts of textiles and weaving, woodworking and
\nsilversmithing. If it were not possible for interested students to attend a two
\nor four year program of industrial arts there were seasonal courses
\navailable.  During this period Arts and
\nCrafts Societies appeared, somewhat reminiscent of the European medieval
\nguilds.  Each such society set standards
\nfor design and workmanship and often offered outlets for finished products to
\nbe made available to the public.  <\/div>\n
\n<\/div>\n
\nAccording to Ayres, Hansen et al,  (American Arts and Crafts Textiles, Abrams, 2002) \u201cArts and
\nCrafts textiles represent one medium that actually attained the goals of the
\nArts and Crafts movement: to introduce and disseminate a new design aesthetic
\nthat was affordable, attainable, and of its time, and that emphasized an
\nappreciation of handwork. Through books, magazines, schools, and commercial
\ncompanies the tenets of Arts and Crafts design were spread via textiles.\u201d<\/div>\n
\n<\/div>\n
\nNot all the Societies were large, nor were some long
\nlasting.  One exception is Folly Cove
\nDesigners, Cape Ann, Massacheuttsets. 
\nThe group\u2019s leader, Virginia Burton Demetrios stressed the concept of
\ndesigner-craftsmanship and the 43 designers who worked from 1941-1969 (some
\nleft the group after a few years, while many remained until they closed the
\nworkshop in 1969) came to be known as professional block printers.  Their designs were carved into linoleum blocks
\nand printed onto fabric for household goods, such as placemats, clothing and
\nbed linens.  Some designs were created
\nto be printed on paper for wallpaper and greeting cards. Following the death of
\nDemetrios, the remaining designers agreed to cease selling their designs to the
\npublic and donated their design samples and prints to the Cape Ann Historical
\nAssociation.<\/div>\n
\n<\/div>\n
\nThe Association held a major exhibition of their work in
\n1982 and again in 1996.<\/p>\n

<\/div>\n

\n
\n<\/a>Exhibition catalog 1996<\/span><\/div>\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\n<\/a><\/div>\n

<\/div>\n

\nEleanor Curtis \u201cBird Battalion\u201d 1955  \u201cSmall battalions in early spring dip and
\nwing and bank and turn and land-Each little craft maneuvering without command\u201d<\/div>\n
\n<\/a><\/div>\n
\n<\/p>\n
\n<\/a><\/div>\n
\n<\/div>\n

Placemat: teal-toned paint on cotton.  Large triangular trees with flocks of birds
\nin flight<\/p><\/div>\n

\n<\/div>\n
\nDemetrios often assigned design assignments in six basic
\ntypes: horizontal, vertical, circles, squares, all-overs, triangles and
\nprogressions. This is an example of complete triangle design<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\n<\/a><\/div>\n

\nEleanor Curtis \u201cGay Bouquet\u201d 1956<\/div>\n

\nPlacemat:  rose-toned
\npaint on cotton.  Large rondels of two
\nbasic designs: one of garden tools: rakes, shovels, hoes and spades and forks,
\nthe second three circular patterns of floral \u201cposeys\u201d around a center of
\ndecorative baskets.<\/div>\n
\nThis is an example of a circular design<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\n<\/a><\/div>\n

<\/div>\n

\n
\n<\/a><\/div>\n

<\/p>\n

\n<\/a><\/div>\n

                                                       
\n                                                       Eleanor Curtis \u201cMicah IV:3<\/div>\n

\n                                                          Floral design on paper<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n
\n<\/a><\/div>\n

<\/div>\n

\n<\/div>\n
\nElizabeth Iarrabino \u201cSand Pipers\u201d 1954<\/div>\n
\nPlacemat: blue-gray tone on cotton.<\/div>\n
\nThis progression design is an example in which each motif is
\nrepeated in five sizes with each progression twice the size of the preceeding
\none.<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n<\/div>\n
\n

For more information on the Folly Cove Designers, including
\nbiographies, contact the Cape Ann Historical Association\/Museum, 27 Pleasant
\nStreet, Gloucester, MA 01930 <\/p><\/div>\n

\nwww.capeannhistoricalmuseum.org<\/a>   978-283-0455<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Despite the overwhelming impact of industrial manufacturing there has always been interest in high quality, handcrafted articles.  First, in Europe \u201carts and craft ” societies were founded and flourished, then, in America institutions such as Black Mountain in North Carolina, Berea College in Kentucky and  Cranbrook Institute in Michigan were educating artists in the crafts…<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-537","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/posts\/537","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/comments?post=537"}],"version-history":[{"count":0,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/posts\/537\/revisions"}],"wp:attachment":[{"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/media?parent=537"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/categories?post=537"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinnamonstudio.com\/blog\/wp-json\/wp\/v2\/tags?post=537"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}