Coverlet 1840

Curator: Gazing at this Coverlet from 1840 by John Hartman, held here at the Art Institute of Chicago, what's the very first thing that bubbles to the surface for you? Editor: The weight of it! Not literally, but metaphorically. There's an undeniable solemnity, a sort of homespun gravity in those stark geometric patterns woven in contrasting thread. Curator: It does whisper stories, doesn’t it? Beyond its practical purpose as a bed covering, this weaving—with its repeated motifs of stylized flowers and, look, even birds!—feels deeply personal. There is a connection to domestic life and tradition here. It practically hums with meaning. Editor: Absolutely, and that domesticity is charged. In the context of 1840s Ohio, where this was made, we can consider this textile as more than mere decoration. It represents labor, skill, and potentially even resistance within a patriarchal society. Craft, particularly textile work done by women, became a subtle but powerful form of expression and agency. The time invested alone speaks volumes. Curator: The obsessive repetition of pattern... Is it an act of love? Meditation? Perhaps even a silent scream into the void? Or perhaps, all those things in equal measure! I imagine John at his loom with sunlight streaming in and losing himself in this world of intricate details, thoughts coalescing and fading with the rhythm of the shuttle. Editor: I see those hours as tethered to social realities. While Hartman, likely a male weaver of these 'professional' coverlets, profited, women’s contributions often went unrecognized, even as they formed the base of local economies and artistic production. This Coverlet subtly raises the stakes. Was it simply a trade good? Or a quiet form of visual commentary and communication, defying societal expectations? Who slept under this, dreaming dreams? Curator: That's it. Dreams, memories and hopes are woven inextricably within those very threads. It is an old soul filled with stories waiting to be retold... Editor: I’ll add to that by stating that engaging with this coverlet reminds us that material objects, especially those made by hand, are infused with cultural narratives and unspoken voices. They provide opportunities to reconsider not just individual stories, but shared, and often suppressed, histories.