Find one of your favorite artists or
schools of art and create a small piece in the style of that artist
or school of art. You could
copy or adapt a specific piece of art, but it may be more rewarding
to do something original using the style. This is a study only;
please be aware of copyright issues.
used hand dyes and batiks
Paul Klee had a variety of styles over his years as an artist. I was
particularly drawn to one of his earlier pieces, "1914", because
of its childlike simplicity. My piece tries to re-create this feel as well
as the woodcut look the original piece has.
Monet's l'Esterel Mountains
15" x 14-1/4"
Tree trunk and grass thread painted.
Used snippets for the leaves. Watered
down acrylic paint for the highlights and covered with tulle to give
a misty look. Machine quilted.
Klimt Tree of Life
19-1/2" x 22-1/2 “
Commercial cottons; fused applique; free-motion quilting
Del Mar, California
20" x 20"
Suede cloth; dupioni silk; holographic
lame; vintage lace; beads, pearls, gold net
From ERTE'S Hearts and Zephyrs series...my
interpretation of "Heart-I
I have always loved all of Erte's work and really had fun recreating
one of his pieces in fabric. It turned out to be the most involved
and labor intensive of all my challenge pieces so far, due to all the
beading and painting lace with metallic Tsukineko ink.
18 x 24”
My attempt at Cubism. Quilt showing
sewing machine and various tools, which was then cut into strips
Cynthia Ann Morgan
20 x 24”
hand dyed and commercial fabrics, fused
I chose Wassily Kandinsky of Bauhaus fame because I really like how
he used repetition of geometric shapes in his abstractions, but still
had great balance and variety. My piece is based on one of his paintings
called Decisive Pink.
Five Wooden Buttons
Cotton discharged fabric
for background, fused on shapes,
wooden buttons found at antique show.
I chose Wassily Kandinsky (Russian) 1866-1944, Composition VII, 1913.
Kandinsky uses a varity of lines,shapes and colors. He used a large
for the focal point. I used five wooden buttons and many lines, shapes
with fused fabrics, stitching and discharged background.
Lisa A Albanese
8-1/2 x 7”
Planting pebbles, scrap quilting cottons
I went with my initial artist - Andy Goldsworthy. I like him as an
artist - his pallet is mother nature and takes only what is available
to him to create sculptures and what not. So I took some pebbles -
sorted them by value and composed this piece only with my scraps that
were in my sewing room - not quite the same as his work - but fun to
do anyway. The pebbles were a bit of challenge - I really wanted them
sewn on to the pieces but that wasn't a technical possibility all the
time so I glued them then sewed them so you think they are sewn on.
San Leandro, CA
Le Talisman, After Sérusier
13½ x 11½”
Collaged cotton fabrics
My second attempt at this challenge. This is a loose copy of
Sérusier's 'Le Talisman'. In my first attempt, I tried to incorporate
Serusier's colors and style into something done more intuitively, and
I didn't care for the results. This one I like. I learned more by trying
to copy his painting than I did by doing my own thing in a similar
What Would Mondrian Quilt?
8.5" x 11"
commercial poly/cottons, iron on bias tape
Mondrian, in this modern time, would still use the same colors and
forms, but the key would be the quilting. I chose to do a rectangular
spiral in each of the blocks, adding texture without changing his basic
Churn-dash I, Churn-dash II and Churn-dash III
each is 8.5"X
All Kona cottons
Inspired by the hard edge, non-representational
painters; these are all abstractions of the Churndash block. Blocks
II and III take the initial abstraction a step further. Colors were
chosen with Mondrian in mind.
Tobi K. Hoffman
14 3/4" x 18 1/2"
Cotton prints, tulle
This was designed after John Robert Cozens,
1752 – 1797, of
the English Landscape School. His watercolor of Chamonix and
Martigny was the specific picture that I imitated, as its muted but
light tones appealed to me. I found that most of my fabrics were
too bright, so a couple of the pieces are in with the back side forward
to get the lighter shade. I added fine white tulle over it all
to further mute the shades, using thread painting to hold it together
and to try to bring out the clouds which were wisps of Polyfil between
the background and the tulle.
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