American hardanger

There's someone here, that teaches "american hardanger", claiming that
it's different from plain hardanger. Some distinctive features should
be that it's "worked diagonally" and that it has a border done on
woven bars instead of buttonholing on fabric.
Now, I've seen a work, and it does not seem anything strange, to me.
It was done with coloured threads, and with some other embroidery in
it, like some coloured flowers in daisy stitch and stem stitch. But is
it enough to call it "american hardanger"?
I know that american and australian publications offer more coloured
projects than german ones, more traditional. I know that american and
australian publications tend to use different threads, variegated
ones, and use also embellishments, like beads.
But does this justify the name of "american hardanger"?
And is this term used in America, too?

Ciao, Stefania
--
Stefania Bressan (Italy)
http://digilander.libero.it/angolostefania

Stefania Bressan wrote [and asked]:
There's someone here, that teaches "american hardanger", claiming that
it's different from plain hardanger. Some distinctive features should
be that it's "worked diagonally" and that it has a border done on
woven bars instead of buttonholing on fabric.
Now, I've seen a work, and it does not seem anything strange, to me.
It was done with coloured threads, and with some other embroidery in
it, like some coloured flowers in daisy stitch and stem stitch. But is
it enough to call it "american hardanger"?
I know that american and australian publications offer more coloured
projects than german ones, more traditional. I know that american and
australian publications tend to use different threads, variegated
ones, and use also embellishments, like beads.
But does this justify the name of "american hardanger"?
And is this term used in America, too?

Before I forget, Schwalm is practised in Germany in tons of colors. A
great RCTN'er sent me some scrumptuous pictures that I have yet to put
up on line. Fascinating for not only the colors used, but the motifs -
which are not traditional in any sense.

Such an interesting question about the use of the word "American" when
attached to the technique Hardanger. A good article can be read on-line
at the following address:
http://www.caron-net.com/may99files/may99fea.html

There's a "Part One" that you can click on, also. But this page
specifically addresses your question. Here's a quote from this page,
which is specific and direct:

"There is some controversy regarding some of the embroidery which is
given the appellation of Hardanger. What began as a decoration for
household linens has been turned into something else which purists refer
to as "American Hardanger." This would include any work which employs
colors other than white or cream or is executed on cotton rather than
linen cloth. Applications for these contemporary "American Hardanger"
embroideries have grown to encompass tablecloths, doilies, runners,
wallhangings, pillows, bedspreads, baptismal and wedding gown trims,
bookmarks, Christmas ornaments, bellpulls, sun catchers, liturgical
vestments, needle cases, pincushions, coasters, bread covers and even
doll clothes. However, even though the designs, applications and
materials have multiplied since the 18th century, the basic techniques
remain the same. White-on-white remains the most traditional and, for
many, the most elegant choice for Hardanger embroidery. Traditionalists
can continue to work Hardanger in its original pure form, while those
who are more experimentally inclined can employ the numerous new choices
of materials now available."

Also, I had a web page - no longer there but can put back up again -
from a UK publication (early 20th century "Weldon's Encyclopedia of
Needlework") that shows a LOT of different stitches that you don't see
being used today - at least that I've seen.

So, for me personally, I don't like adding the word "American" to a
technique, since the Brits certainly added to this creativity a hundred
years ago. Hedebo, a Danish embroidery, has three distinct forms due to
creativity and the passage of time: old, intermediate, and new. So, I
don't see why we can't just call it "New Hardanger", if the purists -
with whom I have some agreement in their philosophy - wish to retain
it's original intent.

There's two ways I look at adding the term "American" to the technique:
1. derogatory - egotistical; 2. not true to form. So it's use isn't
positive one way or another. Then again, nobody put me in charge. grin
Dianne

On Sun, 28 Sep 2003 16:37:04 -0500, Dianne Lewandowski wrote:

[...]

"There is some controversy regarding some of the embroidery which is
given the appellation of Hardanger. What began as a decoration for
household linens has been turned into something else which purists refer
to as "American Hardanger." This would include any work which employs
colors other than white or cream or is executed on cotton rather than
linen cloth.
Yes, I don't know how I could forget it. I printed it, and put in a
binder with other embroidery articles, because it is very interesting.
This should answer the question.
[...]
Also, I had a web page - no longer there but can put back up again -
from a UK publication (early 20th century "Weldon's Encyclopedia of
Needlework") that shows a LOT of different stitches that you don't see
being used today - at least that I've seen.
If you put it online, give me the url, it should be interesting.

So, for me personally, I don't like adding the word "American" to a
technique, since the Brits certainly added to this creativity a hundred
years ago. Hedebo, a Danish embroidery, has three distinct forms due to
creativity and the passage of time: old, intermediate, and new. So, I
don't see why we can't just call it "New Hardanger", if the purists -
with whom I have some agreement in their philosophy - wish to retain
it's original intent.

There's two ways I look at adding the term "American" to the technique:
1. derogatory - egotistical; 2. not true to form. So it's use isn't
positive one way or another. Then again, nobody put me in charge. grin
Dianne

To me, it looks like here's they're trying to "sell" it like it was a
different thing, something "special".
I don't feel the need to name it in a different way. For me, it's
hardanger. I can embellish it, add flowers, use colors, but the
technique is hardanger, stop.
But I don't have the need to sell anything... grin

Thanks, Stefania
--
L'angolo di Stefania
http://digilander.libero.it/angolostefania
Un francobollo per il ricamo: partecipa anche tu!
http://www.actaetagenda.it

Stefania Bressan wrote:
To me, it looks like here's they're trying to "sell" it like it was a
different thing, something "special".
I don't feel the need to name it in a different way. For me, it's
hardanger. I can embellish it, add flowers, use colors, but the
technique is hardanger, stop.
But I don't have the need to sell anything... grin

Agreed. I resent it. I was also thinking they could call it "modern
Hardanger", but since it hasn't been in it's pure form since about 1870,
that seems to be rather ridiculous. I'll hunt up that page and put it
up again and post the URL here.

The article also calls it by the correct name, which we in the U.S. seem
unable to get right to begin with. grin

Dianne

I'm working on the EGA Individual Correspondence Course in "modern"
hardanger, and the first step of this three part course is to research the
differences between "traditional" and "American" hardanger (the terms are
used by the author of the course, not me), and then design and stitch a
small piece of hardanger in each style.

I did find several resources that discuss a difference between traditional
hardanger (typically white on white or cream/cream, and mostly decorative
klosters/satin stitches with very little cutting--these pieces were
apparently VERY utilitarian) and American hardanger (introduction of colored
thread/fabric, and very liberal use of decorative cutwork stitches).
Actually, the evolution of the traditional hardanger, according to one
source, can be traced to when the stitchers started to become less isolated
geographically and culturally, not necessary with the introduction of
"American" influences. Danish and Swedish influences apparently played a
large role in how hardanger has evolved. Many of these resources, however,
were decades old. I wonder if this distinction is relevant today. I could
post my bibliography for this part of the course if anyone is interested.

However, I've not heard the terms "American" or "traditional" hardanger
applied to this needlework outside of this correspondence course or these
older resources I found. Everything I've seen has just been labeled
hardanger, regardless of color, type of thread/fabric used, or amount of
decorative stitches.

Carol Sylvester



"Stefania Bressan" wrote in message
...
There's someone here, that teaches "american hardanger", claiming that
it's different from plain hardanger. Some distinctive features should
be that it's "worked diagonally" and that it has a border done on
woven bars instead of buttonholing on fabric.
Now, I've seen a work, and it does not seem anything strange, to me.
It was done with coloured threads, and with some other embroidery in
it, like some coloured flowers in daisy stitch and stem stitch. But is
it enough to call it "american hardanger"?
I know that american and australian publications offer more coloured
projects than german ones, more traditional. I know that american and
australian publications tend to use different threads, variegated
ones, and use also embellishments, like beads.
But does this justify the name of "american hardanger"?
And is this term used in America, too?

Ciao, Stefania
--
Stefania Bressan (Italy)
http://digilander.libero.it/angolostefania

Carol Sylvester wrote:

Actually, the evolution of the traditional hardanger, according to one
source, can be traced to when the stitchers started to become less isolated
geographically and culturally, not necessary with the introduction of
"American" influences.

Yes, from everything I've read on the subject. And this is one reason I
rsent the term "American" being associated with it. The Brits had a
heavy hand in introducing other stitches, too, which probably also came
from elsewhere. I'll try to get that page up today.

Danish and Swedish influences apparently played a
large role in how hardanger has evolved. Many of these resources, however,
were decades old. I wonder if this distinction is relevant today. I could
post my bibliography for this part of the course if anyone is interested.

However, I've not heard the terms "American" or "traditional" hardanger
applied to this needlework outside of this correspondence course or these
older resources I found. Everything I've seen has just been labeled
hardanger, regardless of color, type of thread/fabric used, or amount of
decorative stitches.

Except that it's Hardangersom. huge grin (The sewing of Hardanger).
Of course, one could argue that Schwalm isn't correct, either. It's
really the "whitework of Schwalm", or "Schwalm embroidery". But we
Americans (myself included) tend to shorten things and simply say Schwalm.

Is there a way for you to condense what you've read - similar to the
thesis on Caron's website - and give us a sampling of what you've come
up with? I'd be happy to put it on line.

Dianne

On Mon, 29 Sep 2003 16:19:24 GMT, Carol Sylvester wrote:

I could
post my bibliography for this part of the course if anyone is interested.
Yes, thanks!!

However, I've not heard the terms "American" or "traditional" hardanger
applied to this needlework outside of this correspondence course or these
older resources I found. Everything I've seen has just been labeled
hardanger, regardless of color, type of thread/fabric used, or amount of
decorative stitches.
This makes sense. I would use the same terms if I should deepen the
argument, and explain the changes happened thru the years, but not as
a label of a kind of needlework technique.

Ciao, Stefania
--
L'angolo di Stefania
http://digilander.libero.it/angolostefania
Un francobollo per il ricamo: partecipa anche tu!
http://www.actaetagenda.it

Actually, I had to write a 500 word "research paper" following my research.
The text of that is attached below...

---------------------------

Hardanger is typically viewed as a Norwegian needlework, named after the
district on the west coast of the country. However, the roots of Hardanger
stretch all the way to ancient Asia and Persia, with some Italian techniques
such as reticella, also a part of this needlework's past.1 Many of the
motifs found in Hardanger can be traced to Egypt, India and Syria.2

Hardanger is the most famous of the whitework needleworks of Norway. It has
always been used as a decorative type of needlework. During its most popular
period, from 1650 to 1850, it was mainly used as embellishment on women's
blouses, headdresses, aprons and men's shirts. After 1850, it was also used
on decorative items around the home.3

The needlework of Norway developed more slowly than the needlework of the
other Scandinavian countries, mostly because the country was cut off from
the European Continent by geographical barriers.4 As a result, Hardanger did
not change much from its traditional style until Norwegians began to leave
their homeland. As Hardanger became known outside of the country, women
began experimenting with all aspects of the needlework. Traditionally a
strictly geometrical and symmetrical needlework done in white on white or
ecru or ecru tones, women in Denmark and Sweden began changing the cutwork
areas and began to use pastel colored materials.5 Since the early part of
the 20th century, when Norwegians began arriving in America, even more color
has been added and in some cases the designs have become extremely
elaborate.6 Modern Hardanger is often done on bright colored fabrics with
coordinating or contrasting threads, and in many pieces much of the ground
fabric is either covered with detailed surface work or cut away to allow for
lacy openwork design.

The forerunners of Hardanger were stitched on very fine gauze netting, and
when the technique became popular in Norway, it was stitched on a high count
white fabric, typically linen. Again, though, migration of Norwegian led to
change. As Hardanger became more popular in America, the fabric changed from
the traditional high count linen to a 22 count "basketweave" fabric, known
today as Hardanger fabric.7 In the early 1900s, linen became scarce, and
therefore more expensive, and needleworkers looked for an alternative
fabric. Cotton became the fabric of choice mainly because it was readily
available.8

After fading from popularity during the mid-1900s, this type of needlework
enjoyed a resurgence in the 1980s and 1990s. Hardanger designers are taking
advantage of the great variety in fabric and threads available for
stitching, and it's quite likely that the women who practiced this art when
it was in its heyday would not recognize it today.

Footnotes:

1 Dardis, Joan Pavel. "Vesterheim-The Norwegian-American Museum." Treasures
in Needlework, Summer 1993, p. 61.

2 Dardis, Joan Pavel. "Vesterheim-The Norwegian-American Museum." Treasures
in Needlework, Summer 1993, p. 61.

3 Nielsen, Edith. Scandinavian Embroidery: Past and Present. Charles
Scribner's Sons, New York, NY. 1978.

4 Nielsen, Edith. Scandinavian Embroidery: Past and Present. Charles
Scribner's Sons, New York, NY. 1978.

5 Nielsen, Edith. Scandinavian Embroidery: Past and Present. Charles
Scribner's Sons, New York, NY. 1978.

6 Nielsen, Edith. Scandinavian Embroidery: Past and Present. Charles
Scribner's Sons, New York, NY. 1978.

7 Dardis, Joan Pavel. "Vesterheim-The Norwegian-American Museum." Treasures
in Needlework, Summer 1993, p. 61.

8 Vainius, Rita. "The History of Hardangersom, Part II." Caron Collection
Website, www.caron-net.com/may99files/may99fea.html, accessed 9 June 2003.
----------------------------------------------------

And there you have the results of my research. It was quite interesting, but
take from it what you will...

Dianne, if you're interesting in posting this on your website or elsewhere,
feel free.

Carol Sylvester




"Dianne Lewandowski" wrote in message
...
Carol Sylvester wrote:

Actually, the evolution of the traditional hardanger, according to one
source, can be traced to when the stitchers started to become less
isolated
geographically and culturally, not necessary with the introduction of
"American" influences.

Yes, from everything I've read on the subject. And this is one reason I
rsent the term "American" being associated with it. The Brits had a
heavy hand in introducing other stitches, too, which probably also came
from elsewhere. I'll try to get that page up today.

Danish and Swedish influences apparently played a
large role in how hardanger has evolved. Many of these resources,
however,
were decades old. I wonder if this distinction is relevant today. I
could
post my bibliography for this part of the course if anyone is
interested.

However, I've not heard the terms "American" or "traditional" hardanger
applied to this needlework outside of this correspondence course or
these
older resources I found. Everything I've seen has just been labeled
hardanger, regardless of color, type of thread/fabric used, or amount of
decorative stitches.

Except that it's Hardangersom. huge grin (The sewing of Hardanger).
Of course, one could argue that Schwalm isn't correct, either. It's
really the "whitework of Schwalm", or "Schwalm embroidery". But we
Americans (myself included) tend to shorten things and simply say Schwalm.

Is there a way for you to condense what you've read - similar to the
thesis on Caron's website - and give us a sampling of what you've come
up with? I'd be happy to put it on line.

Dianne

The URL:
http://www.heritageshoppe.com/herita...hardanger.html
Dianne

Stefania Bressan wrote:
On Mon, 29 Sep 2003 16:19:24 GMT, Carol Sylvester wrote:


I could
post my bibliography for this part of the course if anyone is interested.

Yes, thanks!!

However, I've not heard the terms "American" or "traditional" hardanger
applied to this needlework outside of this correspondence course or these
older resources I found. Everything I've seen has just been labeled
hardanger, regardless of color, type of thread/fabric used, or amount of
decorative stitches.

This makes sense. I would use the same terms if I should deepen the
argument, and explain the changes happened thru the years, but not as
a label of a kind of needlework technique.

Ciao, Stefania

Carol Sylvester wrote:

Actually, I had to write a 500 word "research paper" following my research.
The text of that is attached below...

Dianne, if you're interesting in posting this on your website or elsewhere,
feel free.
Oh, goody. I printed it out. :-)
Dianne