TEXTILES IN THE CONTEXT

OF XX-XXI CENTURIES ABSTRACT ART

NATALIA TSVETKOVA
Associate professor, PhD, Saint Petersburg Stieglitz State | [email protected]
Academy of Art and Design (Textile Department).

Recibido: 22-06-20 | Aceptado: 21-08-20

Resumen
El comienzo del siglo XX fue la época de desarrollo del llamado “arte abstracto”.
Normalmente, cuando se explora el arte abstracto, se recurre a la pintura. Los
historiadores del arte del siglo XX observaron la conexión entre la creciente
importancia de las artes decorativas y aplicadas y el florecimiento de la
abstracción en la pintura. Un campo tan importante de las artes aplicadas como
el de los textiles artísticos no fue considerado en absoluto en este contexto.

Palabras clave
Arte textil | arte abstracto | arte contemporáneo| textiles contemporáneos.

Abstract
The beginning of the twentieth century was the time of development of the
so-called “abstract art”. Usually, when exploring abstract art, they turn to
paintings. Art historians of the twentieth century noted the connection between
the growing importance of decorative and applied art and the flourishing of
abstraction in painting. Such a significant field of applied art as artistic textiles
was not considered in this context at all.

Keywords
Textile art | abstract art | contemporary art | contemporary textiles.

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180 NATALIA TSVETKOVA

Traditionally, in the history of Western European art, decorative and

applied art was usually given a secondary role.
The beginning of the twentieth century was the time of development of
the so-called “abstract art”. Usually, when exploring abstract art, they turn
to paintings. Such a significant field of applied art as artistic textiles was
not considered in this context at all. Researchers of abstract painting have
noted that the flat expressiveness of abstract painting is largely related to
the flatness of ornamented textile surfaces. However, the idea of a possi-
ble “textile” origin of abstract painting was too radical for art historians - it
was believed that painting, called “optical” art, represents a more advan-
ced state of human perception, hierarchically superior to the “tactile” art
of textiles. However, modern researchers call the art of textiles one of the
important factors that played a role in the history of abstract art.
In 2013 – 2014, the Kunstmuseum Wolfsburg of art hosted the exhibi-
tion “Art & Textiles”. The purpose of the exhibition was to explore the role
of textiles in the history of art from the modern period to the present. It
was noted that the links between fine and applied art are obvious. In ad-
dition, which is especially important for this research, the exhibition “Art
and Textiles” paid special attention to the exit of textile art from the plane
of the picture to the area of space.
Subsequently, there was a change in the concept of textile art. In the se-
cond half of the twentieth century, during the so-called “plastic explosion”,
new forms of textiles appeared, they went from the plane to the volume,
from the field of abstract painting to the field of abstract sculpture.
In this article, we are going to see the evolution of this historical pro-
cess.
Discussing the issues of terminology in the field of artistic creativity, the
famous Russian philosopher and cultural critic Moisey Kagan noted the
existence of such concepts as “decorative art” and “applied art”. The re-
searcher did not consider the concepts of “decorative” art to be successful,
since the concept of decorativeness did not reflect the unity of the utilita-
rian and artistic aspects. While the term “applied art” quite accurately cha-
racterizes the dual nature of this group of arts, the combination of artistic
and vital-practical, utilitarian principles in them, while simultaneously em-
phasizing the priority and overriding importance of the second1.

1. Kagan M.S. O prikladnom iskusstve: Nekotorye viprosy teorii. Leningrad: Khudozhnik

RSFSR, 1961 – P. 31-32

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The primacy of utilitarianism probably contributed to the fact that

in the history of Western European art, applied art was usually given a
secondary role. Actually, architecture, painting and sculpture were con-
sidered “big” and real art. Applied art, called “small” or “low”. It was as-
sociated with the creation of functional items – fabrics, dishes, furniture
and, thus, the line between the concepts of “craft” and “applied art” was
not clearly defined. The failure of this hierarchy of arts has been noted
by many researchers. Thus, Gottfried Semper, art theorist of XIX century,
speaking about the use of the term “applied art”, noted, that this phrase
... quite accurately reflects the abnormal situation in modern art, thanks
to which a deep gap has been formed between the so-called high and
low art2…
In the XIX century, in connection with the development of industry,
there was a crisis of craft production. Unique items began to be replaced
by mass-produced products that were inferior in their aesthetic qualities
to objects created manually.
The emergence of the “Arts and Crafts Movement”, associated with
the names of William Morris and John Ruskin, can be considered a re-
action to this state of things. W. Morris noted the importance of applied
art in the history of mankind and saw the reflection of this history in the
contemporary artistic situation: “... no people and no society, even the
most primitive, could not do without these arts...”3. At the same time, W.
Morris noted that all these arts are now in a state of anarchy and disa-
rray. And this clearly dictates the need for fundamental changes. These
changes W. Morris and his associates saw in the appeal to the principles
of medieval craft4. The activity of William Morris largely contributed to
the rise of applied art.
The beginning of the XX century was the time of development of the
so-called “abstract art”. Usually, when exploring abstract art, they turn to
paintings. Art historians of the XX century noted the connection between
the growing importance of applied art and the flourishing of abstraction
in painting. For example, Peg Weiss noted that this issue requires serious
scientific attention5. Such a significant field of applied art as artistic tex-

2. Semper G. Practicheskayia estetika. Moskva: Iskusstvo, 1970. – P. 177.

3. Morris W. Iskusstvo I zhizn. Izbrannye stat’i, lektsii, rechi, pis’ma. Moskva: Iskusstvo,
1973 – P. 248
4. Morris W. Iskusstvo I zhizn. Izbrannye stat’i, lektsii, rechi, pis’ma. Moskva: Iskusstvo,
1973 – P.251
5. Weiss P. Kandinsky in Munich: The Formative Jugendstil Years. Princeton: Princeton
University Press, 1979 - P. 9.

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182 NATALIA TSVETKOVA

tiles was not considered in this context at all. Researchers of abstract

painting have noted that the flat expressiveness of abstract painting is
largely related to the flatness of ornamented textile surfaces. However,
the idea of a possible “textile” origin of abstract painting was too radical
for art historians and art critics. It was believed that painting, called “op-
tical” art, represents a more advanced state of human perception, hie-
rarchically superior to the “tactile” art of textiles. In the works of the XX
century devoted to abstract art, works of artistic textiles are almost not
mentioned. However, modern researchers call the art of textiles one of
the important factors that played a role in the history of abstract art and
pay attention to the connection between textiles and abstract painting.
There are four concepts of interaction between textiles and abstract art:
- textile is a kind of model or paradigm for abstraction, and it was at
the origin of the formation of modern abstract art;
- the opposite view – the intensive development of textile art throu-
ghout the XX century was closely linked to the theories and forms ema-
nating from the dominant artistic direction in painting and sculpture,
where abstraction was a key factor;
- textile is a materialized process of abstraction;
- the development of abstract art has scientific foundations, and the
interaction of textiles and abstraction occurs at the conceptual level6.
Let’s look at these concepts in more detail. In favor of the first con-
cept is the fact that the work of some abstract artists – Robert and Sonia
Delaunay, Johannes Itten influenced the book “ De la Loi du Contraste
Simultané des Couleurs “ (1839) , the author of which was the French
chemist Michel Eugène Chevreul. The book was a study of the dyeing
and weaving processes used in the Tapestry Manufactory in Paris. Itten
said that the study of this book inspired him to write abstract paintings
based on color contrasts in 1915. Art historian and Director of the Kunst-
museum Wolfsburg (Germany) Markus Brüderlin wrote that the pat-
chwork quilt created by Sonia Delaunay can be considered the first work
of abstract art that preceded the “invention” of abstract painting in Paris
by one year7.

6 . Van Tilburg M. Abstraction. / Mateusz Kapustka, Anika Reineke, Anne Röhl, Tristan
Weddigen, dir., Textile Terms: A Glossary (Gebr. Mann Verlag, February 2017) URL: https://
www.academia.edu/29412184/Abstraction_entry_in_Textile_Terms_A_Glossary_dir._
Mateusz_Kapustka_Anika_Reineke_Anne_Röhl_and_Tristan_Weddigen_Gebr._Mann_
Verlag_2017 (date of consultation in the reference: 07.04.2020).
7. Van Tilburg M. Abstraction. / Mateusz Kapustka, Anika Reineke, Anne Röhl, Tristan

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In 2013 – 2014 the Kunstmuseum Wolfsburg hosted the exhibition

“Art and Textiles”, where about 200 works were presented, including
paintings by Gustav Klimt, Vincent van Gogh, Edgar Degas, Henri Ma-
tisse, Paul Klee and Jackson Pollock. In addition to paintings, the exhi-
bition included textile objects, such as a fragment of pre-Columbian
weaving from the collection of Anni Albers. The purpose of the exhi-
bition was to explore the role of textiles in the history of art from the
beginning of XX century to the present. It was noted that the division
of applied and fine arts accepted in art criticism led to the exclusion of
textiles from the historical and artistic context, while the links between
fine and applied art are obvious. An exhibition at the Kunstmuseum
Wolfsburg raised the question of the role of textile techniques in the
formation of abstract art. The orthogonal structure of the fabric-the
intersection of the warp and weft threads found a response in the grid
structure of Piet Mondrian’s paintings. In addition the exhibition “Art
and Textiles” paid special attention to the exit of textile art from the
plane of the picture to the area of space. This idea was illustrated by
installations by such authors as Lenore Tawney, Fred Sandback, Peter
Kogler, Chiaru Shiota8.
The idea of the exhibition “Art and Textiles” echoes the concept of
the project “Ornament and Abstraction”, held in 2001 at the Founda-
tion Beyeler (Switzerland). “Ornament and Abstraction” emphasized
the role of ornament in the formation of abstract art of the XX century
by comparing works of fine art with applied art objects of different cul-
tures9. The idea of the exhibition was based on the theory of the Vien-
nese art critic Alois Riegl. In his book “Problems of Style. Foundation

Weddigen, dir., Textile Terms: A Glossary (Gebr. Mann Verlag, February 2017)
URL:https://www.academia.edu/29412184/Abstraction_entry_in_Textile_Terms_A_
Glossary_dir._Mateusz_Kapustka_Anika_Reineke_Anne_Röhl_and_Tristan_Weddigen_
Gebr._Mann_Verlag_2017 (date of consultation in the reference: 07.04.2020). Citation:
Markus Brüderlin, “Zur Ausstellung. Die Geburt der Abstraktion aus dem Geiste des
Textilen und die Eroberung des Stoff-Raumes”, in: Kunst & Textil. Stoff als Material und
Idee in der Moderne von Klimt bis heute, ed. by Markus Brüderlin, Ostfildern 2013, pp.
14–45, exh. cat.: Kunstmuseum Wolfsburg and Staatsgalerie
Stuttgart. - P. 34-41.
8. Art & Textiles. Fabric as Material and Concept in Modern Art from Klimt to the Present.
12.10.2013 – 02.03.2014. URL: https://www.kunstmuseum-wolfsburg.de/exhibitions/art-
and-textiles-fabric-as-material-and-concept-in-modern-art-from-klimt-to-the-present/
(date of consultation in the reference: 10.04.2020)
9. Ornament und Abstraction. URL: https://www.fondationbeyeler.ch/en/ausstellungen/
vergangene-ausstellungen/ornament-und-abstraktion (date of consultation in the
reference: 10.04.2020)
/vergangene-ausstellungen/ornament-und-abstraktion (дата обращения: 10.04.2020)

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184 NATALIA TSVETKOVA

Il.1. Gunta Stölzl “Five Choirs”, made in the technique of jacquard weaving.

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TEXTILES IN THE CONTEXT OF XX-XXI CENTURIES.... 185

of the History of Ornament” Alois Riegl argued with the followers of

the concept of Gottfried Semper. According to the theory of G. Semper,
the process of creating an object of applied art was determined by the
material from which it was made, the technique of execution and the
material function that is inherent in it10. Followers of G. Semper, so-ca-
lled “semperians” according to A. Riegl, simplified his theory, making a
hasty conclusion, that all art forms were always the direct result of ma-
terials and techniques11. By the ideas of Alois Riegl, above the practical
aspects is the supreme principle of the artist’s creativity – his “will to
art” (Kunstwollen), expressed in the art of ornament12. Thus, the form of
the created object becomes not a consequence of the use of technology
and material, but the meaning of creative activity. In his book Alois Riegl
revised the traditional hierarchy of arts, in which applied art was given a
secondary role.
As for the concept that in the XX century there was a development of
textile art as a means of self-expression in the context of modern artistic
trends, this is supported by the work of the Bauhaus textile workshop,
where flat textile works were created, the style of which corresponded
to abstract paintings. We can note, for example, the work of Gunta Stöl-
zl “Five Choirs” (Il. 1), made in the technique of jacquard weaving. The
panel is stylistically associated with the painting “Pastoral” (Rhythms) by
Paul Klee (Il.2).
Subsequently, there was a change in the concept of textile art. In the
second half of the XX century, during the so-called “plastic explosion”,
new forms of textiles appeared, they went from the plane to the volu-
me, from the field of painting to the field of sculpture. In an attempt to
emphasize their independence from abstract painting, the artists wor-
ked with natural, often unpainted or locally colored fibers, shifting their
attention from the field of color experiments to the area of three-dimen-
sional.
The hypothesis of the universality of abstraction as a human impul-
se was confirmed in the concept of the exhibition “Abstract Design in
American Quilt”, held at the Whitney Museum of American Art in New
York in 1971. Here, traditional patchwork quilts were displayed as works
of abstract art. The exhibition demonstrated stylistic parallels in works

10. Semper G. Practicheskayia estetika. Moskva: Iskusstvo, 1970. – P. 224.

11. Riegl A. Problems of Style. Foundation of the History of Ornament. Princeton:Princeton
University Press Hardcover, 1993 - P. 4
12. Riegl Alois (1858-1905). URL: http://cult-lib.ru/doc/culture/encyclopedia-xx-vek/435.
htm (date of consultation in the reference: 11.04.2020)

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186 NATALIA TSVETKOVA

Il. 2. “Pastoral” (Rhythms) by Paul Klee, 1927.

of painting and applied art. Quilts were displayed as paintings, and the
exhibition demonstrated the possibility of applying the aesthetics of
avant-garde painting to the textile tradition13.

13. Hirst, Don’t It? Revealing the Invisible. Labor of Female Fiber Artists in Twentieth
Century Art. A paper and quilt project by Nora Renick Rinehart and Rachel Wallis. For the
Craft/Work Collective. Publication by Nora Renick Rinehart, 2016 – Р.6-7.

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In support of the theory that the interaction of textiles and abstraction

occurs on a conceptual level, the American art critic and art critic Joseph
Masheck has spoken out. In 1976, in the article “ The Carpet Paradigm:
Critical Prolegomena to a Theory of Flatness” Joseph Masheck suggested
that the main cause of flatness in painting, the early XX century was the
theory of the second half of the XIX century, when ornament began to
be preferred naturalistic image; flatness and decorativeness in the visual
arts developed together14.
In 2006 in Peter the Great Museum of Anthropology and Ethnography
(the Kunstkamera) (Saint Petersburg, Russia) took place the exhibition
“Oriental Dreams. Russian Russian Avant-Guard and Silks of Bukhara”,
the purpose of which was to identify the influence of Central Asian fa-
brics ornament on Russian avant-garde painting. In the exhibition cata-
log E. Akhmedova noted that the connection between fabrics and avant-
guard painting should be considered as part of the overall process of
development of world culture. Such aesthetic characteristics as flatness,
decorativeness, and ornamentation were characteristic of both avant-
guard painting and textiles15.
Having considered four theories of interaction between textile art and
abstract painting, it should be noted that each of them is confirmed in
the studies of art historians and art critics of the XX-XXI centuries. The
role of textile in the history of art is currently not fully identified and this
topic should undoubtedly be explored more deeply in both theoretical
works and practical exhibition projects.
In the XX century, the value of applied art increases. An important role
in this process was played by the Bauhaus in Germany and VKhUTEMAS
in Russia, which formed a new approach to subject creativity.
The Bauhaus teaching system was influenced by the theories of G.
Semper and A. Riegl. The Bauhaus Manifesto, written in 1919, called for
abandoning the hierarchy of arts. There has been developed the con-
cept of “gezamtkunstverk” – universal art work. The emergence of the
concept of creating a total art work can be considered an attempt to
overcome the disunity of the arts.

14. Van Tilburg M. ‘Rethinking the Carpet Paradigm: Critical Footnotes to a Theory of
Flatness’, in Meta-textile. Identity and History of a Contemporary Art Medium’, Marco
Costantini and Tristan Weddigen, eds.; Emsdetten/Berlin, Edition Imorde, 2011 - P. 129
15. Akhmedova E. Two Roses Redden on One Stem // Oriental Dreams. Russian Russian
Avant-Guard and Silks of Bukhara. Exhibition catalog. Saint Petersburg, 2006 – P. 137.

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188 NATALIA TSVETKOVA

The embodiment of the idea of the gesamkunstwerk can be consi-

dered the House Am Horn designed by Georg Muhe and presented at
the exhibition in 1923, which featured furniture, textiles and other items
created by Bauhaus students – illustrating the principle of “art and tech-
nology – a new unity”16. In the Haus Am Horn were presented the textile
works which can be attributed to the abstract-constructive style. This is
the panel by Margarete Bittkow-Koehler based on the rhythm of dark
and light squares and textile by Ilse Mogelin and Gertrud Arndt.
The creative experiments of the Weaving workshop of Bauhaus un-
doubtedly demonstrate the influence of the creative ideas of abstract
painting on textile art, but, at the same time, it is an attempt to find
its own plastic language inherent in textiles. Graduates of the Bauhaus
Weaving workshop Gunta Stölzl, Anni Albers and Otti Berger had the
greatest influence on the development of textile art of the XX century,
including three-dimensional fiber art forms.
An interesting example of a universal art work is the Rabe house in
Zwenkau, created by the architect Adolf Rading and the artist Oscar
Schlemmer.
Working at the Bauhaus, O. Schlemmer created several performan-
ces – “Triadic Ballet “and” Dances of the Bauhaus”, where he studied
the human body, its proportions and interaction with space. Costu-
mes became an important part of the performances. Researchers of
O. Schlemmer’s work note that he was inspired by the ideas of Soviet
constructivism, in particular “prozodezhda”17.
Oscar Schlemmer applied his theatre experience in designing the in-
terior of the Rabe house. He created a composition of wire consisting
of three figures that, depending on the lighting, created different sha-
dows on the wall, which caused an association with a sundial. The wall
composition for staircases was based on sketches of dancing figures. In
accordance with the works of O. Schlemmr, the interior color scheme
was created: abstract planes of contrasting colors - red, blue, black and
white were located on the walls, ceiling and floor of the living room. “It

16. Bauhaus: A Conceptual Model. / Editor: Bauhaus-Archiv Berlin/Museum für

Gestaltung, Stiftung Bauhaus Dessau, and Klassik Stiftung Weimar. Ostfildern.: Hatje Cantz
Verlag, 2009 – P. 152.
17. Rhee B. Oskar Schlemmer: Body as Weapon. Department of Dance. Barnard College,
Columbia University, 2007 – P. 15

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TEXTILES IN THE CONTEXT OF XX-XXI CENTURIES.... 189

looked as if Schlemmer had rolled parts of an abstract painting inside

the room to combine the space… In contrast to the formal stage where
“Triadic ballets” were performed, this was an informal setting that en-
couraged internal drama and turned architecture into a form of perfor-
mative art»18. Abstract art played a leading role in the interior design of
the Rabe house.
The construction of space with the help of abstract color planes can
be noted in the works of Soviet constructivist artists - projects by A.
Rodchenko, A. Vesnin and others. The theatrical experience of Russian
artists who managed to bring the trends of avant-garde painting into
space in their productions is also interesting. Performances “Famira
Kfared”, which was designed by A. Exter, “Phaedra”, by A. Vesnin, reali-
zed the ideas of cubism in the theater19. It is noted that “formal means

Il. 3. A. Vesnin. The sketch for decoration for theatre performance Phaedra, 1921.

18. Epishin A. S. Gesamtkunstwerk Rabe haus. Rabe house in Zwenkau as a universal

artwork // Istoricheskie, philosophskie, politicheskie i juridicheskie nauki, kulturologiia I
iskusstvovedenie. Voprosy teorii I practiki. / Tambov: Gramota, 2017 - P. 63-64
19. Tsvetkova N. Performance v iskusstve «fiber art». Istoria, traditsii, sovremennost //
Dekorativnoye iskusstvo i predmetno-prostranstvennaya sreda. Vestnik MGHPA / Moskva,
MGHPA, 2017. № 3. – P. 343.

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190 NATALIA TSVETKOVA

— geometric planes, color spots, dematerialization of the pictorial pla-

ne led many artists of the Russian avant-garde to work with textiles”20.
Having considered textiles in the context of XX-XXI centuries abstract
art we can draw the following conclusions:
- disputes about the place of applied art among other types of art be-
gan at the end of the XIX century and continue to this day;
- trends in the pursuit of abstraction in painting and applied art deve-
loped in parallel;
- textile have influenced the development of avant-garde movements
in art of the first half of the XX century and developed in these directions;
- the mutual influence of artistic textiles and abstract painting is ob-
vious; art historians and art critics of the XXI century are trying to draw
attention to this problem.

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TEXTILES IN THE CONTEXT OF XX-XXI CENTURIES.... 191

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Princeton University Press, 1979 - 268 pp.

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192 NATALIA TSVETKOVA

ILLUSTRATIONS

Gunta Stölzl “Five Choirs” https://i.pinimg.com/736x/cd/01/ec/

cd01ec75bbae27e44a9f202542f79d5a--bauhaus-textiles-choirs.jpg
Paul Klee “Pastoral” (Rhythms).
https://i.pinimg.com/originals/1e/5a/76/1e5a766d018c-
2961d6762a10be9a0b31.jpg
A. Vesnin. The sketch for decoration for theatre performance “Phaedra”
http://totalarch.com/files/news/muar_theater_03.jpg

Papeles de Cultura Contemporánea, 23, 2020, 179-192 ISSN 2254-5646