N. Y.) Metropolitan Museum of Art (New York, Morrison H.'s American Furniture in the Metropolitan Museum of Art: Late PDF

By N. Y.) Metropolitan Museum of Art (New York, Morrison H. Heckscher, Mary-Alice Rogers

ISBN-10: 0870994271

ISBN-13: 9780870994272

The following ultimately is the booklet that records The Metropolitan Museum of Arts superlative choice of overdue colonial furnishings. This complete catalogue—prodigiously researched and gloriously illustrated—presents 213 of the best gadgets within the Museums American Wing. those masterpieces of eighteenth-century furnishings are absolutely defined and thought of in mild of comparative items from collections around the state. for each item the writer supplies distinct information regarding provenance, building, , inscriptions if any, dimensions, and fabrics. the amount will stand because the crucial sourcebook for creditors and a travel de strength of scholarship within the box.

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Extra info for American Furniture in the Metropolitan Museum of Art: Late Colonial Period - The Queen Anne and Chippendale Styles

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In the design room, sketches that communicate both mood and detail are most effective. Sketching can be done during various stages of the process. During the initial consultation, ideas may be communicated by sketching in front of the client. When ideas are readily flowing and the parameters for design have been narrowed, sketching with the client is ideal. Immediate input and reaction from the client is valuable. The overall shape of the garment is lightly penciled with long, fluid strokes. As the silhouette takes shape, the pencil strokes become more defined and the details are layered in.

Each tier of the crinoline is prepared separately, with some tiers up to 15 yards long. One skirt crinoline can take as many as 45 yards of tulle and crinoline. Vertical seams are stitched and pressed open. The heavy crinoline is stiff and scratchy, so steps are taken to ensure the wearer’s comfort. The hem edge of the crinoline is turned twice to conceal any rough and scratchy edges. The hem edge of any soft tulle layer is simply a cut edge; soft tulle does not scratch. The upper edge of each ruffle is gathered and attached to the tiers that make up the base.

Although the consumer only sees the outer layer, the under layers impact the finished look of the fabric. Many layers are often framed and worked as one to create a specific desired effect. Interfacings such as organza, tricot, lining, and other textiles are used on the unseen or “wrong” side of the fabric to create the desired weight, body, and opaqueness. The layering allows for the color adjustment of translucent fabrics and the camouflaging of seam allowances. fa bri c ma n i p ul at i on Fabric can be manipulated, shaped, and steamed to create textural interest and design.

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American Furniture in the Metropolitan Museum of Art: Late Colonial Period - The Queen Anne and Chippendale Styles by N. Y.) Metropolitan Museum of Art (New York, Morrison H. Heckscher, Mary-Alice Rogers

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