A stitching friend of mine, Celia, had given me the book English Church Embroidery 1833- 1953 by Mary Schoeser when she found out that I enjoyed learning about ecclesiastical embroidery. It is an excellent book not just on ecclesiastical embroidery (though that is the main focus) but also embroidery design influences and embroiderers during the Victorian and Edwardian periods. Inspired by this book, I emailed Liverpool Cathedral to see if I could get an appointment to view the Elizabeth Hoare embroidery collection that is stored there. Vicky, an embroiderer at Liverpool Cathedral, graciously emailed me back and volunteered to take me through the exhibit and to show me some of the samples that were not on display as they are part of the study collection.
Located on the third floor of the Cathedral, it is an excellent exhibition of church needlework, focusing on pieces from the Victorian and Edwardian periods. Ms. Hoare had been director of Watts and Co. in London and donated her collection to be exhibited at Liverpool Cathedral. I highly recommend if you are interested in the topic and passing through or near Liverpool to take the time to visit it. On display are samples, sketch and design plans, and final pieces, so you really get the full process of creating and enjoying these embroideries. I thought I would share a few photos of some of the items I saw there. I took over 550 photos there so there is A LOT more to see in the exhibition. Sadly the photos of the alter frontals did not turn out the best, but I wanted to mention them because there are two in particular that are beautiful!
Detail from piece in study collection.
Detail of a chasuble designed by Bodley and Garner in the 1880s (Schoeser, 161)
Cope hood designed by Geldart in 1880 (Embroideries of Liverpool Cathedral, 19).
Sample from Watts and Co (part of study collection). I thought the color use and gradations in the wings was beautiful.
Sample from Watts and Co (part of study collection).
Embroidered cope hood.
Detail from a cope hood.
This tapestry in the Chapel of St. Anne was designed and created by Jill Hutchinson.
Tate Liverpool: "Mondrian and His Studios"
I have seen Mondrian pieces before separately but never beside each
other in a chronological manner. "It's just blocks of color right?"--that's what many people say. This exhibition opens the doors to Mondrian's process,
which I find fascinating! It started with his more nature inspired
pieces, abstracting trees and church architecture. Then it illustrates
how his environment (apartment/studio/living space/creating space) was
kept in a manner that not only reflected his art but helped to propel
his ideas forward.
My favorite part of this exhibition was the very end. After you have been drawn into his process and heard/read about the effect of music on his pieces, you see some of his final paintings. There are more intersections in these. What is so incredible is that you can see the music created by little white dots (which actually are not there) appearing to jump from intersection to intersection. It was incredible! So to anyone that thinks Mondrian is just blocks of white and primary colors encased with black lines--maybe at a glance it is, but on second glance or longer look, you are greeted with visual music! Here is a video from the ArtFund UK about this exhibition:
My favorite part of this exhibition was the very end. After you have been drawn into his process and heard/read about the effect of music on his pieces, you see some of his final paintings. There are more intersections in these. What is so incredible is that you can see the music created by little white dots (which actually are not there) appearing to jump from intersection to intersection. It was incredible! So to anyone that thinks Mondrian is just blocks of white and primary colors encased with black lines--maybe at a glance it is, but on second glance or longer look, you are greeted with visual music! Here is a video from the ArtFund UK about this exhibition:
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