An "Embroidery" Analysis

An “Embroidery” Analysis

Weeks ago, I did a post where I analyzed a work of art that depicted sewing — specifically a woman sewing by a window with a child nearby. I said within that post that I would return to the overall concept in the future, and the art geek in me is so drawn to the process that a return visit to the strategy is coming your way now!

Embroidery: The Artist's Mother

Embroidery: The Artist’s Mother

The work now being analyzed: Embroidery: The Artist’s Mother

The artist: Georges Seurat

The medium: Conté crayon on Michallet paper

Years Created: 1882-1883

This is supposed to be “tranquil portrait of the artist’s mother” with “a serene ambiance of quiet domesticity,” but to be honest, I don’t quite see it. Of course, art is open to interpretation, but if Seurat intended to create a piece that represented any kind of peaceful or happy sensations, for me, he missed the mark.

But I suppose I’m getting ahead of myself! Perhaps we should scale it back and cover the piece’s details before we dive into what those pieces mean.

Seruat’s work that’s now being addressed, just about the whole thing can be fitted into the focal pyramid.

Seruat’s work that’s now being addressed, just about the whole thing can be fitted into the focal pyramid.

On my earlier post, I mentioned the concept of triangular configuration, meaning a triangle — or pyramid — could be drawn generally around the central figures of the work to bring the viewer’s focus to that section. With this drawing, most definitely that concept is employed, but it’s in a much different way than what was seen in the painting that was previously analyzed. For that earlier work, there were a number of other elements at play that surrounded the pyramid. For Seruat’s work that’s now being addressed, just about the whole thing can be fitted into the focal pyramid.

Beyond that factor, the most notable detail of this work is potentially how dark it is. There’s very little light in Embroidery — so little, in fact, that there are only a small number of areas that are bright enough to fully be differentiated. Consider what’s going on behind the woman sewing, on her left side. The work gets brighter, then darker, as if something is there that changes the light in that area. Maybe it’s a bend in the wall because she’s working by a hallway, or perhaps it’s some kind of drapery that’s hanging there. The point is that the viewer can’t know why the difference is there. He or she can only note that it is there.

The work gets brighter, then darker, as if something is there that changes the light in that area.

The work gets brighter, then darker, as if something is there that changes the light in that area.

There’s a vagueness in that detail, and it’s mirrored in the blurred features of the woman herself as she sews by hand in a room that seems to be incredibly dark. In truth, without the visual proving that she’s using her hands, the viewer could easily conclude that the woman in the work has fallen asleep while sitting up. There’s no indication that her eyes are open, and a person can barely discern the woman’s mouth to know what’s happening there. Without the image of the actual sewing, the viewer could let his or her imagination run wild to decide she’s asleep and drooling, or frowning through a nightmare. The piece simply looks too vague to know from the facial expression alone.

Without the visual proving that she’s using her hands, the viewer could easily conclude that the woman in the work has fallen asleep while sitting up.

Without the visual proving that she’s using her hands, the viewer could easily conclude that the woman in the work has fallen asleep while sitting up.

So what we perceive is a woman who is sitting in what can barely be distinguished as a chair, and the only indication to us that she is sewing is we can see the material hanging from her curved hands.

See the material hanging from her curved hands.

See the material hanging from her curved hands.

If I put all of that together, I just can’t arrive at a peaceful meaning. To me, the darkness shows a sadness that’s mirrored in the idea that there’s nothing of sincere noteworthiness happening around the woman aside from the sewing. Since that sewing itself is inches below the lightest part of the painting, brightness isn’t a logical label to give to that activity either in order to offer a pleasantry to her task — and, by extension, the whole image. To me, this feels more like a rendering of a woman who is almost a drone — thus, her faded features — tending to a task that leaves her so unhappy that she’s sitting in darkness and perhaps nearly dozing in her efforts.

This, to me, is not a good representation of sewing! I suppose by applying the description of the work, I can rationalize that it wasn’t the artist’s intent to create a piece that so drearily portrays the process of sewing. The site even acknowledges a positive comment that’s been given to the work, so it could be that I’m the only one who comes to these kinds of conclusions. Still, if I was going to direct someone to an art piece that I feel showcases the mood of sewing, this might not be my choice!

What do you guys think? Is it dreary and vague, like I thought, or more pleasant like the artist seemed to intend?

Paper N’ Plastic

Paper N’ Plastic

I don’t know about you, but I love to save time and room, especially when it comes to my sewing space. One of the best ways to save time when you are preparing or working on a sewing project is organization. I find it so much easier to move from one step to next when everything is not scattered all over the place. With that being said, I have a helpful organization tip about storing your pattern pieces.

I prefer the slider bags, but the snap bags work just as well.

I prefer the slider bags, but the snap bags work just as well.

Have you ever opened your sewing pattern and taken out the beautiful folded paper pattern inside of it? Doesn’t look it look neat and tidy?! Well, have you tried to refold the paper pattern once it has been unfolded and put it back into that same pattern pack? Or even worse, have you tried to refold it once you have cut out the pattern pieces you need for project? Those of you who have successfully refolded your paper pattern and neatly placed it back into its package…well done!!! I think you are amazing magicians with wonderful refolding powers.

Sadly, for the rest of us (me included), it is a painful and tedious task (say that three times fast) to get the paper back into the pack. However, I have a found a solution that works great. All you need are permanent markers and plastic storage or freezer bags. I prefer the slider bags (see photo 1), but the snap bags work just as well. For one of my patterns, I used a 2.5-gallon jumbo slider bag because the pattern pieces were very large. You can adjust the size of your storage or freezer bag based on the size of your pattern pieces.

Place the pattern package in the bag with the paper pattern pieces (photo 2) in order to keep them all together.

Place the pattern package in the bag with the paper pattern pieces (photo 2) in order to keep them all together.

There are two ways that you can store your pattern pieces. The first way is to only cut out the pieces from the paper pattern that you will use for your sewing project. Then with remaining pattern paper, you can simply fold it to make it smaller and put it into the storage or freezer bag without having to make the shape precise in order to fit into the bag. The second way is to cut out all of the pieces found on the paper pattern and store them in the slider or snap plastic bag. The second way will also save you cutting time later should you decide to use the additional pattern pieces from the same sewing pattern for a future project. I also like to place the pattern package in the bag with the paper pattern pieces (photo 2) in order to keep them all together, especially because the pattern package contains fabric measurements and finished garment measurements that you may need to refer to in order to prepare for your sewing project.

Once you have your paper pattern and package in the bag, I would suggest using a permanent marker to label the bag with the corresponding pattern number (photo 3).

Use a permanent marker to label the bag with the corresponding pattern number.

Use a permanent marker to label the bag with the corresponding pattern number.

Side note: If the paper pattern pieces do not have the pattern number printed on it, mark the number on the pieces themselves so you will know to which pattern package and bag they belong. Write the number in a place on the pattern pieces that does not interfere with the pattern markings.

The bonus of using the storage or freezer bag is that it also provides you with space to make notes right on the bag. If you have, for example, a fabric idea or found an easier way to put the pattern together why you were sewing, you can simply put a note or reminder on the bag without having to mark all over the pattern or the pattern package. So there you have it…a simple and inexpensive way to organize your paper pieces without all that refolding hassle. Sewing is fun so do not let refolding and refitting take the joy away from you.