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Additions to the revised edition include an early anonymous newspaper account of Bloomsbury, and observations by Quentin Bell, Beatrice Webb, Gerald Brenan, Christopher Isherwood, Frances Partridge, and others.
Includes charts of designs by Duncan Grant, Vanessa Bell and Roger Fry.
Celebrated and maligned with equal vigor, the Bloomsbury Group is the best-documented artistic coterie in twentieth-century literature. The novelists Virgonia Woolf and E.M. Forster, the artists Roger Fry, Duncan Grant, and Vanessa Bell, and the economist John Maynard Keynes were among this charmed circle that emerged in London before the First World War and came to exercise a complex, lingering influence on English art and letters. Theirs was a world of great talent--even genius--sexual intrigue, and gossip; they cultivated an atmosphere in which it was possible to say anything, do anything. Their peak of influence in the 1920s was followed by forty years of sustained sidelong derogation, and occasional frontal attack, from such famously hostile critics as D.H. Larence and Wyndham Lewis, until, in the 1960s, the idea of Bloomsbury exploded in the public imagination, transforming the Group into an almost mass-market attraction. Not in their darkest nightmares could Bloomsbury's contemporary detractors have imagined that Charleston Farmhouse, where Vanessa Bell and Duncan Grant once lived and painted, would eventually attract some 15,000 visitors each year, or that a high-profile film, Carrington, would be based on Lytton Strachey's largely platonic love affair with an obscure artist on the fringes of the hallowed Group. Bloomsbury Pie examines the persistent allure of Bloomsbury--a fascination driven by nostalgia, adoration, and antipathy--and tracks the resurgence of interest in the Group, from a handful of biographies in the 1960s through the feminist discovery of Virginia Woolf in the 1970s and the enshrinement of the Bloomsberries as cultural icons in the 1980s and 1990s. Drawing on a wealth of material generated by this revival, Regina Marler chronicles the story of the Bloomsbury boom--its scholars, collectors, and fanatics and explores the industry it has spawned among writers, publishers, and art dealers. In the proces she creates an impressive social history of a tenacious and unwieldy cultural phenomenon.
The needle arts are traditionally associated with the decorative, domestic, and feminine. Stitching the Self sets out to expand this narrow view, demonstrating how needlework has emerged as an art form through which both objects and identities – social, political, and often non-conformist – are crafted. Bringing together the work of ten art and craft historians, this illustrated collection focuses on the interplay between craft and artistry, amateurism and professionalism, and re-evaluates ideas of gendered production between 1850 and the present. From quilting in settler Canada to the embroidery of suffragist banners and the needlework of the Bloomsbury Group, it reveals how needlework is a transformative process – one which is used to express political ideas, forge professional relationships, and document shifting identities. With a range of methodological approaches, including object-based, feminist, and historical analyses, Stitching the Self examines individual and communal involvement in a range of textile practices. Exploring how stitching shapes both self and world, the book recognizes the needle as a powerful tool in the fight for self-expression.
Since its original publication in 1976, The Needlepoint Book has become known as "The Black Bible" -- the one resource every aficionado of needlepoint needs to own. Completely revised and expanded, this updated edition includes your favorite features, plus: * A 16-PACE COLOR INSERT WITH ALL-NEW PROJECTS * A CRASH COURSE ON THE NEW FIBERS UPDATED INFORMATION ON MATERIALS, AS WELL AS HOW TO WORK WITH AND CARE FOR THEM * DOZENS OF NEW STITCHES AND A CHAPTER ON THE POPULAR OPENWORK STITCHES * MORE THAN 1,300 ILLUSTRATIONS * 369 STITCHES! DIAGRAMS FOR ALL PROJECTS SHOWN The Needlepoint Book covers all the information you need to learn needlepoint and improve your technique -- in a single comprehensive volume. You'll find section on: * CHOOSING THE RIGHT PROJECT * TRANSFERRING DESIGNS * ELEMENTS OF GOOD DESIGN: COLOR, PROPORTION, AND BALANCE * LEFT-HANDED NEEDLEPOINT * FINISHING TECHNIQUES * CLEANING NEEDLEPOINT * AND MUCH MORE! The Needlepoint Book is a complete guide to the craft, and the only book you'll ever need as a reference to become an expert at creating exquisite works to be treasured forever.
Exploring a contemporary Judaism rich with the textures of family, memory, and fellowship, Jodi Eichler-Levine takes readers inside a flourishing American Jewish crafting movement. As she traveled across the country to homes, craft conventions, synagogue knitting circles, and craftivist actions, she joined in the making, asked questions, and contemplated her own family stories. Jewish Americans, many of them women, are creating ritual challah covers and prayer shawls, ink, clay, or wood pieces, and other articles for family, friends, or Jewish charities. But they are doing much more: armed with perhaps only a needle and thread, they are reckoning with Jewish identity in a fragile and dangerous world. The work of these crafters embodies a vital Judaism that may lie outside traditional notions of Jewishness, but, Eichler-Levine argues, these crafters are as much engaged as any Jews in honoring and nurturing the fortitude, memory, and community of the Jewish people. Craftmaking is nothing less than an act of generative resilience that fosters survival. Whether taking place in such groups as the Pomegranate Guild of Judaic Needlework or the Jewish Hearts for Pittsburgh, or in a home studio, these everyday acts of creativity—yielding a needlepoint rabbi, say, or a handkerchief embroidered with the Hebrew words tikkun olam—are a crucial part what makes a religious life.
Set in the heart of the Sussex Downs, Charleston Farmhouse is the most important remaining example of Bloomsbury decorative style, created by the painters Vanessa Bell and Duncan Grant. Quentin Bell, the younger son of Clive and Vanessa Bell, and his daughter Virghinia Nicholson, tell the story of this unique house, linking it with some of the leading cultural figures who were invited there, including Vanessa's sister Virginia Woolf, the writer Lytton Strachey, the economist Maynard Keynes and the art critic Roger Fry. The house and garden are portrayed through Alen MacWeeney's atmostpheric photographs; pictures from Vanessa Bell's family album convey the flavour of the household in its heyday.
For those who have ever lost themselves in the stylish worlds of novels like Sense and Sensibility, The Age of Innocence, Wuthering Heights, The Picture of Dorian Gray and countless others, this design book embraces the fantasy of time and place, showing you how to bring some of those elements into your own home. Lisa Giramonti inspires a new approach to decorating: by teaching us through the lens of worlds we may already know and love. With gorgeous photographs by World of Interiors photographer Ivan Terestchenko, aspirational quotes, and tailored reading lists, Novel Interiors reveals the essence and details of interiors mentioned in great literary works. This is a stunning, photo-driven book that shares enchanting and timeless ways to live more elegantly.