Crewel Embroidery c. 1936

Editor: This is "Crewel Embroidery," created around 1936 by Fanchon Larzelere. It looks like it uses textile and fiber art techniques, and also what appears to be watercolor for the initial sketch. It gives off such a warm and domestic feeling! What stands out to you? Curator: This piece exemplifies a fascinating intersection of craft, art, and social context. Crewel embroidery, historically associated with domestic labor and 'feminine' artistry, gains new significance when considered within its specific time of production in 1936. Editor: How so? Curator: Think about the materials themselves. Where did Larzelere source her thread? Was this from a commercially produced kit, pointing to increased availability of consumer goods? Or was the wool locally sourced and dyed, suggesting a connection to traditional skills and possibly, a rejection of mass production? Editor: That’s interesting… I never thought about where the materials came from. So, the specific material and its source matter? Curator: Absolutely! And the act of embroidery itself becomes a powerful statement. Was Larzelere engaging in a form of personal expression, elevating a traditionally undervalued craft? Or was she upholding societal expectations for women during the interwar period? How do the organic themes connect to these notions? Editor: It is making me rethink "women's work" and the materials involved! So much context I did not know I needed to consider. Curator: Precisely! Examining these elements allows us to appreciate “Crewel Embroidery” not just for its aesthetic qualities but also as a material object embedded within a specific cultural and historical landscape. Hopefully that gives insight beyond the visual appeal. Editor: Yes, it really does! I’ll be thinking about materiality and labor differently moving forward.