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A huge, life size segment of paper-mache watermelon
LARGE PAPIER-MÂCHÉ WATERMELON SECTION
DETAILS:
A True Vintage Art Piece!
Get ready to make a statement with this one-of-a-kind, vintage papier-mâché watermelon section. This unique piece of handmade folk art is a true masterpiece, created by an unknown artist using the traditional technique of papier-mâché. The result is a stunning, huge wedge segment of watermelon that's so lifelike, you'll want to cut a slice.
The process of creating this piece is just as impressive as the finished product. The artist carefully crafted the hollow papier-mâché sculpture, layering paper pulp and glue to create a sturdy and durable base. The lightweight sculpture was then expertly hand-painted to capture the vibrant colors and textures of a real watermelon. A healthy layer of gloss was applied to the flesh and the rind to make it appear juicy or moist. The result is a beautiful, succulent decorative watermelon with sensational details!
But what really sets this piece apart is the attention to detail. The artist has included wonderful textures, skillful seed placement, and even left the green skin unglossed to give it a matte or satin finish, just like real watermelon skin. It's these little touches that make this piece truly special.
While we don't know the exact origins of this piece, we can estimate its age based on our visual examination of its construction, materials, color scheme, wear, and visual aging. Based on our evaluation, we believe this handmade decorative fruit piece was created in the late 1960s or 1970s, possibly as late as the 1980s. Regardless of its exact age, this piece is undoubtedly a true vintage art piece.
This large, life-size papier-mâché watermelon section makes a fantastic table centerpiece statement, especially when paired with other papier-mâché fruit or vegetables or other summer-themed items. Its unique design and craftsmanship will be sure to spark conversations and admiration from anyone who sees it.
Why You'll Love It!
* Unique and one-of-a-kind piece of folk art
* Handcrafted with love and care
* Stunning details and textures
* Perfect for summer-themed decor or as a statement piece
* A true vintage art piece that will appreciate in value over time
Dimensions:
Length: 13-7/8" (35.24 cm)
Height: 5-1/8" (13.02 cm)
Width: 5-1/8" (13.02 cm)
CONDITION:
In very good, pre-owned condition. This vintage piece is in very good shape for its age but it does crackling throughout the gloss/paint layer. The thin hairline cracks are a normal aging occurrence in vintage paper mache. Please see photos.
To ensure safe delivery all items are carefully packaged before shipping out.
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*ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.*
"Watermelon (Citrullus lanatus) is a flowering plant species of the Cucurbitaceae family and the name of its edible fruit. A scrambling and trailing vine-like plant, it is a highly cultivated fruit worldwide, with more than 1,000 varieties.
Watermelon is grown in favorable climates from tropical to temperate regions worldwide for its large edible fruit, which is a berry with a hard rind and no internal divisions, and is botanically called a pepo. The sweet, juicy flesh is usually deep red to pink, with many black seeds, although seedless varieties exist. The fruit can be eaten raw or pickled, and the rind is edible after cooking. It may also be consumed as a juice or an ingredient in mixed beverages.
Kordofan melons from Sudan are the closest relatives and may be progenitors of modern, cultivated watermelons.[2] Wild watermelon seeds were found in Uan Muhuggiag, a prehistoric site in Libya that dates to approximately 3500 BC.[3] In 2022, a study was released that traced 6,000-year-old watermelon seeds found in the Libyan desert to the Egusi seeds of Nigeria, West Africa.[4] Watermelons were domesticated in north-east Africa and cultivated in Egypt by 2000 BC, although they were not the sweet modern variety. Sweet dessert watermelons spread across the Mediterranean world during Roman times.[5]
Considerable breeding effort has developed disease-resistant varieties. Many cultivars are available that produce mature fruit within 100 days of planting. In 2017, China produced about two-thirds of the world's total of watermelons.
Description
The watermelon is an annual that has a prostrate or climbing habit.
Stems are up to 3 metres (10 feet) long and new growth has yellow or brown hairs. Leaves are 60 to 200 millimetres (2+1⁄4 to 7+3⁄4 inches) long and 40 to 150 mm (1+1⁄2 to 6 in) wide. These usually have three lobes that are lobed or doubly lobed. Young growth is densely woolly with yellowish-brown hairs which disappear as the plant ages. Like all but one species in the genus Citrullus, watermelon has branching tendrils. Plants have unisexual male or female flowers that are white or yellow and borne on 40-millimetre-long (1+1⁄2 in) hairy stalks. Each flower grows singly in the leaf axils, and the species' sexual system, with male and female flowers produced on each plant, is monoecious. The male flowers predominate at the beginning of the season; the female flowers, which develop later, have inferior ovaries. The styles are united into a single column.[citation needed]
The large fruit is a kind of modified berry called a pepo with a thick rind (exocarp) and fleshy center (mesocarp and endocarp).[6] Wild plants have fruits up to 20 cm (8 in) in diameter, while cultivated varieties may exceed 60 cm (24 in). The rind of the fruit is mid- to dark green and usually mottled or striped, and the flesh, containing numerous pips spread throughout the inside, can be red or pink (most commonly), orange, yellow, green or white.[7][8]
A bitter watermelon, C. amarus, has become naturalized in semiarid regions of several continents, and is designated as a "pest plant" in parts of Western Australia where they are called "pig melon".
Taxonomy
The sweet watermelon was first described by Carl Linnaeus in 1753 and given the name Cucurbita citrullus. It was reassigned to the genus Citrullus in 1836, under the replacement name Citrullus vulgaris, by the German botanist Heinrich Adolf Schrader.[10] (The International Code of Nomenclature for algae, fungi, and plants does not allow names like "Citrullus citrullus".)[11]
The species is further divided into several varieties, of which bitter wooly melon (Citrullus lanatus (Thunb.) Matsum. & Nakai var. lanatus), citron melons (Citrullus lanatus var. citroides (L. H. Bailey) Mansf.), and the edible var. vulgaris may be the most important. This taxonomy originated with the erroneous synonymization of the wooly melon Citrullus lanatus with the sweet watermelon Citrullus vulgaris by L.H. Bailey in 1930.[12] Molecular data, including sequences from the original collection of Thunberg and other relevant type material, show that the sweet watermelon (Citrullus vulgaris Schrad.) and the bitter wooly melon Citrullus lanatus (Thunb.) Matsum. & Nakai are not closely related to each other.[13] A proposal to conserve the name, Citrullus lanatus (Thunb.) Matsum. & Nakai, was accepted by the nomenclature committee and confirmed at the International Botanical Congress in 2017.[14]
Prior to 2015, the wild species closest to Citrullus lanatus was assumed to be the tendril-less melon Citrullus ecirrhosus Cogn. from South African arid regions based on an erroneously identified 18th-century specimen. However, after phylogenetic analysis, the closest relative to Citrullus lanatus is now thought to be Citrullus mucosospermus (Fursa) from West Africa (from Senegal to Nigeria), which is also sometimes considered a subspecies within C. lanatus.[15] Watermelon populations from Sudan are also close to domesticated watermelons.[16] The bitter wooly melon was formally described by Carl Peter Thunberg in 1794 and given the name Momordica lanata.[17] It was reassigned to the genus Citrullus in 1916 by Japanese botanists Jinzō Matsumura and Takenoshin Nakai.
History
Watermelons were originally cultivated for their high water content and stored to be eaten during dry seasons, as a source of both food and water.[19] Watermelon seeds were found in the Dead Sea region at the ancient settlements of Bab edh-Dhra and Tel Arad.[20]
Many 5000-year-old wild watermelon seeds (C. lanatus) were discovered at Uan Muhuggiag, a prehistoric archaeological site located in southwestern Libya. This archaeobotanical discovery may support the possibility that the plant was more widely distributed in the past.[3][19]
In the 7th century, watermelons were being cultivated in India, and by the 10th century had reached China. The Moors introduced the fruit into the Iberian Peninsula, and there is evidence of it being cultivated in Córdoba in 961 and also in Seville in 1158. It spread northwards through southern Europe, perhaps limited in its advance by summer temperatures being insufficient for good yields. The fruit had begun appearing in European herbals by 1600, and was widely planted in Europe in the 17th century as a minor garden crop.[7]
Early watermelons were not sweet, but bitter, with yellowish-white flesh. They were also difficult to open. The modern watermelon, which tastes sweeter and is easier to open, was developed over time through selective breeding.[21]
European colonists and enslaved people from Africa introduced the watermelon to the New World. Spanish settlers were growing it in Florida in 1576. It was being grown in Massachusetts by 1629, and by 1650 was being cultivated in Peru, Brazil and Panama. Around the same time, Native Americans were cultivating the crop in the Mississippi valley and Florida. Watermelons were rapidly accepted in Hawaii and other Pacific islands when they were introduced there by explorers such as Captain James Cook.[7] In the Civil War era United States, watermelons were commonly grown by free black people and became one symbol for the abolition of slavery.[22] After the Civil War, black people were maligned for their association with watermelon. The sentiment evolved into a racist stereotype where black people shared a supposed voracious appetite for watermelon, a fruit long associated with laziness and uncleanliness.[23]
Seedless watermelons were initially developed in 1939 by Japanese scientists who were able to create seedless triploid hybrids which remained rare initially because they did not have sufficient disease resistance.[24] Seedless watermelons became more popular in the 21st century, rising to nearly 85% of total watermelon sales in the United States in 2014.
Systematics
A melon from the Kordofan region of Sudan – the kordofan melon – may be the progenitor of the modern, domesticated watermelon.[2] The kordofan melon shares with the domestic watermelon loss of the bitterness gene while maintaining a sweet taste, unlike other wild African varieties from other regions, indicating a common origin, possibly cultivated in the Nile Valley by 2340 BC.
Nutrition
See also: Watermelon seed oil
Watermelon fruit is 91% water, contains 6% sugars, and is low in fat (table).[28]
In a 100-gram (3+1⁄2-ounce) serving, watermelon fruit supplies 125 kilojoules (30 kilocalories) of food energy and low amounts of essential nutrients (see table). Only vitamin C is present in appreciable content at 10% of the Daily Value (table). Watermelon pulp contains carotenoids, including lycopene.[29]
The amino acid citrulline is produced in watermelon rind.[30][31]
Varieties
A number of cultivar groups have been identified:[32]
Citroides group
(syn. C. lanatus subsp. lanatus var. citroides; C. lanatus var. citroides; C. vulgaris var. citroides)[32]
DNA data reveal that C. lanatus var. citroides Bailey is the same as Thunberg's bitter wooly melon, C. lanatus and also the same as C. amarus Schrad. It is not a form of the sweet watermelon C. vulgaris nor closely related to that species.
The citron melon or makataan – a variety with sweet yellow flesh that is cultivated around the world for fodder and the production of citron peel and pectin.[33]
Lanatus group
(syn. C. lanatus var. caffer)[32]
C. caffer Schrad. is a synonym of C. amarus Schrad.
The variety known as tsamma is grown for its juicy white flesh. The variety was an important food source for travellers in the Kalahari Desert.[33]
Another variety known as karkoer or bitterboela is unpalatable to humans, but the seeds may be eaten....Vulgaris group
This is Linnaeus's sweet watermelon; it has been grown for human consumption for thousands of years.[33]
C. lanatus mucosospermus (Fursa) Fursa
This West African species is the closest wild relative of the watermelon. It is cultivated for cattle feed.[33]
Additionally, other wild species have bitter fruit containing cucurbitacin.[34] C. colocynthis (L.) Schrad. ex Eckl. & Zeyh., C. rehmii De Winter, and C. naudinianus (Sond.) Hook.f.
Varieties
The more than 1,200[35] cultivars of watermelon range in weight from less than 1 kilogram (2+1⁄4 pounds) to more than 90 kg (200 lb); the flesh can be red, pink, orange, yellow or white.[36]
The 'Carolina Cross' produced the current world record for heaviest watermelon, weighing 159 kg (351 lb).[37] It has green skin, red flesh and commonly produces fruit between 29 and 68 kg (65 and 150 lb). It takes about 90 days from planting to harvest.[38]
The 'Golden Midget' has a golden rind and pink flesh when ripe, and takes 70 days from planting to harvest.[39]
The 'Orangeglo' has a very sweet orange flesh, and is a large, oblong fruit weighing 9–14 kg (20–31 lb). It has a light green rind with jagged dark green stripes. It takes about 90–100 days from planting to harvest.[40]
The 'Moon and Stars' variety was created in 1926.[41] The rind is purple/black and has many small yellow circles (stars) and one or two large yellow circles (moon). The melon weighs 9–23 kg (20–51 lb).[42] The flesh is pink or red and has brown seeds. The foliage is also spotted. The time from planting to harvest is about 90 days.[43]
The 'Cream of Saskatchewan' has small, round fruits about 25 cm (10 in) in diameter. It has a thin, light and dark green striped rind, and sweet white flesh with black seeds. It can grow well in cool climates. It was originally brought to Saskatchewan, Canada, by Russian immigrants. The melon takes 80–85 days from planting to harvest.[44]
The 'Melitopolski' has small, round fruits roughly 28–30 cm (11–12 in) in diameter. It is an early ripening variety that originated from the Astrakhan region of Russia, an area known for cultivation of watermelons. The Melitopolski watermelons are seen piled high by vendors in Moscow in the summer. This variety takes around 95 days from planting to harvest.[45]
The 'Densuke' watermelon has round fruit up to 11 kg (24 lb). The rind is black with no stripes or spots. It is grown only on the island of Hokkaido, Japan, where up to 10,000 watermelons are produced every year. In June 2008, one of the first harvested watermelons was sold at an auction for 650,000 yen (US$6,300), making it the most expensive watermelon ever sold. The average selling price is generally around 25,000 yen ($250).[46]
Many cultivars are no longer grown commercially because of their thick rind, but seeds may be available among home gardeners and specialty seed companies. This thick rind is desirable for making watermelon pickles, and some old cultivars favoured for this purpose include 'Tom Watson', 'Georgia Rattlesnake', and 'Black Diamond'....Uses
Culinary
Watermelon is a sweet, commonly consumed fruit of summer, usually as fresh slices, diced in mixed fruit salads, or as juice.[52][53] Watermelon juice can be blended with other fruit juices or made into wine.[54]
The seeds have a nutty flavor and can be dried and roasted, or ground into flour.[8] Watermelon rinds may be eaten, but their unappealing flavor may be overcome by pickling,[47] sometimes eaten as a vegetable, stir-fried or stewed.[8][55]
Citrullis lanatus, variety caffer, grows wild in the Kalahari Desert, where it is known as tsamma.[8] The fruits are used by the San people and wild animals for both water and nourishment, allowing survival on a diet of tsamma for six weeks.[8]
Symbolic
The watermelon is used variously as a symbol of Palestinian resistance, the Kherson region in Ukraine, and Eco-socialism. It has also been used as a racist stereotype in the United States.
Cultivation
Watermelons are plants grown from tropical to temperate climates, needing temperatures higher than about 25 °C (77 °F) to thrive. On a garden scale, seeds are usually sown in pots under cover and transplanted into the ground. Ideal conditions are a well-drained sandy loam with a pH between 5.7 and 7.2....The US Department of Agriculture recommends using at least one beehive per acre (4,000 m2 per hive) for pollination of conventional, seeded varieties for commercial plantings. Seedless hybrids have sterile pollen. This requires planting pollinizer rows of varieties with viable pollen. Since the supply of viable pollen is reduced, and pollination is much more critical in producing the seedless variety, the recommended number of hives per acre increases to three hives per acre (1,300 m2 per hive). Watermelons have a longer growing period than other melons and can often take 85 days or more from the time of transplanting for the fruit to mature.[36] Lack of pollen is thought to contribute to "hollow heart" which causes the flesh of the watermelon to develop a large hole, sometimes in an intricate, symmetric shape. Watermelons suffering from hollow heart are safe to consume.[58][59]
Farmers of the Zentsuji region of Japan found a way to grow cubic watermelons by growing the fruits in metal and glass boxes and making them assume the shape of the receptacle.[60] The cubic shape was originally designed to make the melons easier to stack and store, but these "square watermelons" may be triple the price of normal ones, so appeal mainly to wealthy urban consumers.[60] Pyramid-shaped watermelons have also been developed, and any polyhedral shape may potentially be used.[61]
Watermelons, which are called tsamma in Khoisan language and makataan in Tswana language, are important water sources in South Africa, the Kalahari desert, and East Africa for both humans and animals.[62]
Production
In 2020, global production of watermelons was 101.6 million tonnes, with China (mainland) accounting for 60% of the total (60.1 million tonnes).[63] Secondary producers included Turkey, India, Iran, Algeria and Brazil – all having annual production of 2-3 million tonnes in 2020." (wikipedia.)
"In botany, a fruit is the seed-bearing structure in flowering plants that is formed from the ovary after flowering (see Fruit anatomy).
Fruits are the means by which flowering plants (also known as angiosperms) disseminate their seeds. Edible fruits in particular have long propagated using the movements of humans and other animals in a symbiotic relationship that is the means for seed dispersal for the one group and nutrition for the other; humans and many other animals have become dependent on fruits as a source of food.[1] Consequently, fruits account for a substantial fraction of the world's agricultural output, and some (such as the apple and the pomegranate) have acquired extensive cultural and symbolic meanings.
In common language usage, fruit normally means the seed-associated fleshy structures (or produce) of plants that typically are sweet or sour and edible in the raw state, such as apples, bananas, grapes, lemons, oranges, and strawberries. In botanical usage, the term fruit also includes many structures that are not commonly called 'fruits' in everyday language, such as nuts, bean pods, corn kernels, tomatoes, and wheat grains.[2][3]
Botanical vs. culinary
See also: Vegetable § Terminology
An arrangement of fruits commonly thought of as culinary vegetables, including corn (maize), tomatoes, and various squash
Many common language terms used for fruit and seeds differ from botanical classifications. For example, in botany, a fruit is a ripened ovary or carpel that contains seeds, e.g., an orange, pomegranate, tomato or a pumpkin. A nut is a type of fruit (and not a seed), and a seed is a ripened ovule.[4]
In culinary language, a fruit is the sweet- or not sweet- (even sour-) tasting produce of a specific plant (e.g., a peach, pear or lemon); nuts are hard, oily, non-sweet plant produce in shells (hazelnut, acorn). Vegetables, so-called, typically are savory or non-sweet produce (zucchini, lettuce, broccoli, and tomato). but some may be sweet-tasting (sweet potato).[5]
Examples of botanically classified fruit that are typically called vegetables include cucumber, pumpkin, and squash (all are cucurbits); beans, peanuts, and peas (all legumes); and corn, eggplant, bell pepper (or sweet pepper), and tomato. Many spices are fruits, botanically speaking, including black pepper, chili pepper, cumin and allspice .[4] In contrast, rhubarb is often called a fruit when used in making pies, but the edible produce of rhubarb is actually the leaf stalk or petiole of the plant.[6] Edible gymnosperm seeds are often given fruit names, e.g., ginkgo nuts and pine nuts.
Botanically, a cereal grain, such as corn, rice, or wheat is a kind of fruit (termed a caryopsis). However, the fruit wall is thin and fused to the seed coat, so almost all the edible grain-fruit is actually a seed.
Structure
Main article: Fruit anatomy
The outer layer, often edible, of most fruits is called the pericarp. Typically formed from the ovary, it surrounds the seeds; in some species, however, other structural tissues contribute to or form the edible portion. The pericarp may be described in three layers from outer to inner, i.e., the epicarp, mesocarp and endocarp.
Fruit that bears a prominent pointed terminal projection is said to be beaked.[8]
Development
A fruit results from the fertilizing and maturing of one or more flowers. The gynoecium, which contains the stigma-style-ovary system, is centered in the flower-head, and it forms all or part of the fruit.[9] Inside the ovary(ies) are one or more ovules. Here begins a complex sequence called double fertilization: a female gametophyte produces an egg cell for the purpose of fertilization.[10] (A female gametophyte is called a megagametophyte, and also called the embryo sac.) After double fertilization, the ovules will become seeds.
Ovules are fertilized in a process that starts with pollination, which is the movement of pollen from the stamens to the stigma-style-ovary system within the flower-head. After pollination, a pollen tube grows from the (deposited) pollen through the stigma down the style into the ovary to the ovule. Two sperm are transferred from the pollen to a megagametophyte. Within the megagametophyte, one sperm unites with the egg, forming a zygote, while the second sperm enters the central cell forming the endosperm mother cell, which completes the double fertilization process.[11][12] Later, the zygote will give rise to the embryo of the seed, and the endosperm mother cell will give rise to endosperm, a nutritive tissue used by the embryo.
As the ovules develop into seeds, the ovary begins to ripen and the ovary wall, the pericarp, may become fleshy (as in berries or drupes), or it may form a hard outer covering (as in nuts). In some multi-seeded fruits, the extent to which a fleshy structure develops is proportional to the number of fertilized ovules.[13] The pericarp typically is differentiated into two or three distinct layers; these are called the exocarp (outer layer, also called epicarp), mesocarp (middle layer), and endocarp (inner layer).
In some fruits, the sepals, petals, stamens and/or the style of the flower fall away as the fleshy fruit ripens. However, for simple fruits derived from an inferior ovary – i.e., one that lies below the attachment of other floral parts – there are parts (including petals, sepals, and stamens) that fuse with the ovary and ripen with it. For such a case, when floral parts other than the ovary form a significant part of the fruit that develops, it is called an accessory fruit. Examples of accessory fruits include apple, rose hip, strawberry, and pineapple.
Because several parts of the flower besides the ovary may contribute to the structure of a fruit, it is important to understand how a particular fruit forms.[3] There are three general modes of fruit development:
Apocarpous fruits develop from a single flower (while having one or more separate, unfused, carpels); they are the simple fruits.
Syncarpous fruits develop from a single gynoecium (having two or more carpels fused together).
Multiple fruits form from many flowers – i.e., an inflorescence of flowers....Berries
Main articles: Berry (botany) and Berry
Berries are a type of simple fleshy fruit that issue from a single ovary.[19] (The ovary itself may be compound, with several carpels.) The botanical term true berry includes grapes, currants, cucumbers, eggplants (aubergines), tomatoes, chili peppers, and bananas, but excludes certain fruits that are called "-berry" by culinary custom or by common usage of the term – such as strawberries and raspberries. Berries may be formed from one or more carpels (i.e., from the simple or compound ovary) from the same, single flower. Seeds typically are embedded in the fleshy interior of the ovary.
Examples include:
Tomato – in culinary terms, the tomato is regarded as a vegetable, but it is botanically classified as a fruit and a berry.[20]
Banana – the fruit has been described as a "leathery berry".[21] In cultivated varieties, the seeds are diminished nearly to non-existence.
Pepo – berries with skin that is hardened: cucurbits, including gourds, squash, melons.
Hesperidium – berries with a rind and a juicy interior: most citrus fruit.
Cranberry, gooseberry, redcurrant, grape.
The strawberry, regardless of its appearance, is classified as a dry, not a fleshy fruit. Botanically, it is not a berry; it is an aggregate-accessory fruit, the latter term meaning the fleshy part is derived not from the plant's ovaries but from the receptacle that holds the ovaries.[22] Numerous dry achenes are attached to the outside of the fruit-flesh; they appear to be seeds but each is actually an ovary of a flower, with a seed inside.[22]
Schizocarps are dry fruits, though some appear to be fleshy. They originate from syncarpous ovaries but do not actually dehisce; rather, they split into segments with one or more seeds. They include a number of different forms from a wide range of families, including carrot, parsnip, parsley, cumin....Seedless fruits
The fruit of a pineapple includes tissue from the sepals as well as the pistils of many flowers. It is a multiple-accessory fruit.
Seedlessness is an important feature of some fruits of commerce. Commercial cultivars of bananas and pineapples are examples of seedless fruits. Some cultivars of citrus fruits (especially grapefruit, mandarin oranges, navel oranges), satsumas, table grapes, and of watermelons are valued for their seedlessness. In some species, seedlessness is the result of parthenocarpy, where fruits set without fertilization. Parthenocarpic fruit-set may (or may not) require pollination, but most seedless citrus fruits require a stimulus from pollination to produce fruit.[28] Seedless bananas and grapes are triploids, and seedlessness results from the abortion of the embryonic plant that is produced by fertilization, a phenomenon known as stenospermocarpy, which requires normal pollination and fertilization.
Seed dissemination
Variations in fruit structures largely depend on the modes of dispersal applied to their seeds. Dispersal is achieved by wind or water, by explosive dehiscence, and by interactions with animals.[30]
Some fruits present their outer skins or shells coated with spikes or hooked burrs; these evolved either to deter would-be foragers from feeding on them or to serve to attach themselves to the hair, feathers, legs, or clothing of animals, thereby using them as dispersal agents. These plants are termed zoochorous; common examples include cocklebur, unicorn plant, and beggarticks (or Spanish needle).[31][32]
By developments of mutual evolution, the fleshy produce of fruits typically appeals to hungry animals, such that the seeds contained within are taken in, carried away, and later deposited (i.e., defecated) at a distance from the parent plant. Likewise, the nutritious, oily kernels of nuts typically motivate birds and squirrels to hoard them, burying them in soil to retrieve later during the winter of scarcity; thereby, uneaten seeds are sown effectively under natural conditions to germinate and grow a new plant some distance away from the parent.[4]
Other fruits have evolved flattened and elongated wings or helicopter-like blades, e.g., elm, maple, and tuliptree. This mechanism increases dispersal distance away from the parent via wind. Other wind-dispersed fruit have tiny "parachutes", e.g., dandelion, milkweed, salsify.[30]
Coconut fruits can float thousands of miles in the ocean, thereby spreading their seeds. Other fruits that can disperse via water are nipa palm and screw pine.[30]
Some fruits have evolved propulsive mechanisms that fling seeds substantial distances – perhaps up to 100 m (330 ft) in the case of the sandbox tree – via explosive dehiscence or other such mechanisms (see impatiens and squirting cucumber).
Food uses
Picking blackberries in Oklahoma
A cornucopia of fruits – fleshy (simple) fruits from apples to berries to watermelon; dry (simple) fruits including beans and rice and coconuts; aggregate fruits including strawberries, raspberries, blackberries, pawpaw; and multiple fruits such as pineapple, fig, mulberries – are commercially valuable as human food. They are eaten both fresh and as jams, marmalade and other fruit preserves. They are used extensively in manufactured and processed foods (cakes, cookies, baked goods, flavorings, ice cream, yogurt, canned vegetables, frozen vegetables and meals) and beverages such as fruit juices and alcoholic beverages (brandy, fruit beer, wine).[34] Spices like vanilla, black pepper, paprika, and allspice are derived from berries. Olive fruit is pressed for olive oil and similar processing is applied to other oil-bearing fruits and vegetables.[35] Some fruits are available all year round, while others (such as blackberries and apricots in the UK) are subject to seasonal availability.[36]
Fruits are also used for socializing and gift-giving in the form of fruit baskets and fruit bouquets.[37][38]
Typically, many botanical fruits – "vegetables" in culinary parlance – (including tomato, green beans, leaf greens, bell pepper, cucumber, eggplant, okra, pumpkin, squash, zucchini) are bought and sold daily in fresh produce markets and greengroceries and carried back to kitchens, at home or restaurant, for preparation of meals.[39]
Storage
All fruits benefit from proper post-harvest care, and in many fruits, the plant hormone ethylene causes ripening. Therefore, maintaining most fruits in an efficient cold chain is optimal for post-harvest storage, with the aim of extending and ensuring shelf life....Various culinary fruits provide significant amounts of fiber and water, and many are generally high in vitamin C.[41] An overview of numerous studies showed that fruits (e.g., whole apples or whole oranges) are satisfying (filling) by simply eating and chewing them.[42]
The dietary fiber consumed in eating fruit promotes satiety, and may help to control body weight and aid reduction of blood cholesterol, a risk factor for cardiovascular diseases." (wikipedia.)
"Sculpture is the branch of the visual arts that operates in three dimensions. Sculpture is the three-dimensional art work which is physically presented in the dimensions of height, width and depth. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since Modernism, there has been almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or moulded or cast.
Sculpture in stone survives far better than works of art in perishable materials, and often represents the majority of the surviving works (other than pottery) from ancient cultures, though conversely traditions of sculpture in wood may have vanished almost entirely. However, most ancient sculpture was brightly painted, and this has been lost.[2]
Sculpture has been central in religious devotion in many cultures, and until recent centuries, large sculptures, too expensive for private individuals to create, were usually an expression of religion or politics. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, as well as many in Central and South America and Africa.
The Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith. The revival of classical models in the Renaissance produced famous sculptures such as Michelangelo's statue of David. Modernist sculpture moved away from traditional processes and the emphasis on the depiction of the human body, with the making of constructed sculpture, and the presentation of found objects as finished artworks.
Types
A distinction exists between sculpture "in the round", free-standing sculpture such as statues, not attached except possibly at the base to any other surface, and the various types of relief, which are at least partly attached to a background surface. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, and sometimes an intermediate mid-relief. Sunk-relief is a technique restricted to ancient Egypt. Relief is the usual sculptural medium for large figure groups and narrative subjects, which are difficult to accomplish in the round, and is the typical technique used both for architectural sculpture, which is attached to buildings, and for small-scale sculpture decorating other objects, as in much pottery, metalwork and jewellery. Relief sculpture may also decorate steles, upright slabs, usually of stone, often also containing inscriptions.
Another basic distinction is between subtractive carving techniques, which remove material from an existing block or lump, for example of stone or wood, and modelling techniques which shape or build up the work from the material. Techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work; many of these allow the production of several copies.
The term "sculpture" is often used mainly to describe large works, which are sometimes called monumental sculpture, meaning either or both of sculpture that is large, or that is attached to a building. But the term properly covers many types of small works in three dimensions using the same techniques, including coins and medals, hardstone carvings, a term for small carvings in stone that can take detailed work.
The very large or "colossal" statue has had an enduring appeal since antiquity; the largest on record at 182 m (597 ft) is the 2018 Indian Statue of Unity. Another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the "head", showing just that, or the bust, a representation of a person from the chest up. Small forms of sculpture include the figurine, normally a statue that is no more than 18 inches (46 cm) tall, and for reliefs the plaquette, medal or coin.
Modern and contemporary art have added a number of non-traditional forms of sculpture, including sound sculpture, light sculpture, environmental art, environmental sculpture, street art sculpture, kinetic sculpture (involving aspects of physical motion), land art, and site-specific art. Sculpture is an important form of public art. A collection of sculpture in a garden setting can be called a sculpture garden. There is also a view that buildings are a type of sculpture, with Constantin Brâncuși describing architecture as "inhabited sculpture"....Small decorative figurines, most often in ceramics, are as popular today (though strangely neglected by modern and Contemporary art) as they were in the Rococo, or in ancient Greece when Tanagra figurines were a major industry, or in East Asian and Pre-Columbian art. Small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun....Materials and techniques
The materials used in sculpture are diverse, changing throughout history. The classic materials, with outstanding durability, are metal, especially bronze, stone and pottery, with wood, bone and antler less durable but cheaper options. Precious materials such as gold, silver, jade, and ivory are often used for small luxury works, and sometimes in larger ones, as in chryselephantine statues. More common and less expensive materials were used for sculpture for wider consumption, including hardwoods (such as oak, box/boxwood, and lime/linden); terracotta and other ceramics, wax (a very common material for models for casting, and receiving the impressions of cylinder seals and engraved gems), and cast metals such as pewter and zinc (spelter). But a vast number of other materials have been used as part of sculptures, in ethnographic and ancient works as much as modern ones.
Sculptures are often painted, but commonly lose their paint to time, or restorers. Many different painting techniques have been used in making sculpture, including tempera, oil painting, gilding, house paint, aerosol, enamel and sandblasting.[2][6]
Many sculptors seek new ways and materials to make art. One of Pablo Picasso's most famous sculptures included bicycle parts. Alexander Calder and other modernists made spectacular use of painted steel. Since the 1960s, acrylics and other plastics have been used as well. Andy Goldsworthy makes his unusually ephemeral sculptures from almost entirely natural materials in natural settings. Some sculpture, such as ice sculpture, sand sculpture, and gas sculpture, is deliberately short-lived. Recent sculptors have used stained glass, tools, machine parts, hardware and consumer packaging to fashion their works. Sculptors sometimes use found objects, and Chinese scholar's rocks have been appreciated for many centuries....Soft materials
Three dimensional work incorporating unconventional materials such as cloth, fur, plastics, rubber and nylon, that can thus be stuffed, sewn, hung, draped or woven, are known as soft sculptures. Well known creators of soft sculptures include Claes Oldenburg, Yayoi Kusama, Eva Hesse, Sarah Lucas and Magdalena Abakanowicz....From the High Renaissance artists such as Michelangelo, Leone Leoni and Giambologna could become wealthy, and ennobled, and enter the circle of princes, after a period of sharp argument over the relative status of sculpture and painting.[18] Much decorative sculpture on buildings remained a trade, but sculptors producing individual pieces were recognised on a level with painters. From the 18th century or earlier sculpture also attracted middle-class students, although it was slower to do so than painting. Women sculptors took longer to appear than women painters, and were less prominent until the 20th century....North America
In North America, wood was sculpted for totem poles, masks, utensils, War canoes and a variety of other uses, with distinct variation between different cultures and regions. The most developed styles are those of the Pacific Northwest Coast, where a group of elaborate and highly stylized formal styles developed forming the basis of a tradition that continues today. In addition to the famous totem poles, painted and carved house fronts were complemented by carved posts inside and out, as well as mortuary figures and other items. Among the Inuit of the far north, traditional carving styles in ivory and soapstone are still continued.[130]
The arrival of European Catholic culture readily adapted local skills to the prevailing Baroque style, producing enormously elaborate retablos and other mostly church sculptures in a variety of hybrid styles.[131] The most famous of such examples in Canada is the altar area of the Notre Dame Basilica in Montreal, Quebec, which was carved by peasant habitant labourers. Later, artists trained in the Western academic tradition followed European styles until in the late 19th century they began to draw again on indigenous influences, notably in the Mexican baroque grotesque style known as Churrigueresque. Aboriginal peoples also adapted church sculpture in variations on Carpenter Gothic; one famous example is the Church of the Holy Cross in Skookumchuck Hot Springs, British Columbia.
The history of sculpture in the United States after Europeans' arrival reflects the country's 18th-century foundation in Roman republican civic values and Protestant Christianity. Compared to areas colonized by the Spanish, sculpture got off to an extremely slow start in the British colonies, with next to no place in churches, and was only given impetus by the need to assert nationality after independence. American sculpture of the mid- to late-19th century was often classical, often romantic, but showed a bent for a dramatic, narrative, almost journalistic realism. Public buildings during the last quarter of the 19th century and the first half of the 20th century often provided an architectural setting for sculpture, especially in relief. By the 1930s the International Style of architecture and design and art deco characterized by the work of Paul Manship and Lee Lawrie and others became popular. By the 1950s, traditional sculpture education would almost be completely replaced by a Bauhaus-influenced concern for abstract design. Minimalist sculpture replaced the figure in public settings and architects almost completely stopped using sculpture in or on their designs. Modern sculptors (21st century) use both classical and abstract inspired designs. Beginning in the 1980s, there was a swing back toward figurative public sculpture; by 2000, many of the new public pieces in the United States were figurative in design....Modernist sculptors largely missed out on the huge boom in public art resulting from the demand for war memorials for the two World Wars, but from the 1950s the public and commissioning bodies became more comfortable with Modernist sculpture and large public commissions both abstract and figurative became common. Picasso was commissioned to make a maquette for a huge 50-foot (15 m)-high public sculpture, the so-called Chicago Picasso (1967). His design was ambiguous and somewhat controversial, and what the figure represents is not clear; it could be a bird, a horse, a woman or a totally abstract shape.
During the late 1950s and the 1960s abstract sculptors began experimenting with a wide array of new materials and different approaches to creating their work. Surrealist imagery, anthropomorphic abstraction, new materials and combinations of new energy sources and varied surfaces and objects became characteristic of much new modernist sculpture. Collaborative projects with landscape designers, architects, and landscape architects expanded the outdoor site and contextual integration. Artists such as Isamu Noguchi, David Smith, Alexander Calder, Jean Tinguely, Richard Lippold, George Rickey, Louise Bourgeois, Philip Pavia and Louise Nevelson came to characterize the look of modern sculpture.
By the 1960s Abstract expressionism, Geometric abstraction and Minimalism, which reduces sculpture to its most essential and fundamental features, predominated. Some works of the period are: the Cubi works of David Smith, and the welded steel works of Sir Anthony Caro, as well as welded sculpture by a large variety of sculptors, the large-scale work of John Chamberlain, and environmental installation scale works by Mark di Suvero. Other Minimalists include Tony Smith, Donald Judd, Robert Morris, Anne Truitt, Giacomo Benevelli, Arnaldo Pomodoro, Richard Serra, Dan Flavin, Carl Andre, and John Safer who added motion and monumentality to the theme of purity of line.[137]
During the 1960s and 1970s figurative sculpture by modernist artists in stylized forms was made by artists such as Leonard Baskin, Ernest Trova, George Segal, Marisol Escobar, Paul Thek, Robert Graham in a classic articulated style, and Fernando Botero bringing his painting's 'oversized figures' into monumental sculptures....Contemporary genres
Spiral Jetty by Robert Smithson, in 2005
Some modern sculpture forms are now practiced outdoors, as environmental art and environmental sculpture, often in full view of spectators. Light sculpture, street art sculpture and site-specific art also often make use of the environment. Ice sculpture is a form of ephemeral sculpture that uses ice as the raw material. It is popular in China, Japan, Canada, Sweden, and Russia. Ice sculptures feature decoratively in some cuisines, especially in Asia. Kinetic sculptures are sculptures that are designed to move, which include mobiles. Snow sculptures are usually carved out of a single block of snow about 6 to 15 feet (1.8 to 4.6 m) on each side and weighing about 20–30 tons. The snow is densely packed into a form after having been produced by artificial means or collected from the ground after a snowfall. Sound sculptures take the form of indoor sound installations, outdoor installations such as aeolian harps, automatons, or be more or less near conventional musical instruments. Sound sculpture is often site-specific. Art toys have become another format for contemporary artists since the late 1990s, such as those produced by Takashi Murakami and Kid Robot, designed by Michael Lau, or hand-made by Michael Leavitt (artist)." (wikipedia.)
"The decorative arts are arts or crafts whose aim is the design and manufacture of objects that are both beautiful and functional. This includes most of the objects for the interiors of buildings, as well as interior design, but typically excludes architecture. Ceramic art, metalwork, furniture, jewellery, fashion, various forms of the textile arts and glassware are major groupings.
Applied arts largely overlap with the decorative arts, and in modern parlance they are both often placed under the umbrella category of design. The decorative arts are often categorized in distinction to the "fine arts", namely painting, drawing, photography, and large-scale sculpture, which generally produce objects solely for their aesthetic quality and capacity to stimulate the intellect.
Distinction from the fine arts
The distinction between the decorative and fine arts essentially arose from the post-renaissance art of the West, where the distinction is for the most part meaningful. This distinction is much less meaningful when considering the art of other cultures and periods, where the most valued works, or even all works, include those in decorative media. For example, Islamic art in many periods and places consists entirely of the decorative arts, often using geometric and plant forms, as does the art of many traditional cultures.[citation needed]
The distinction between decorative and fine arts is not very useful for appreciating Chinese art, and neither is it for understanding early Medieval art in Europe. During that period in Europe, fine arts such as manuscript illumination and monumental sculpture existed, but the most prestigious works tended to be in goldsmith work, in cast metals such as bronze, or in other techniques such as ivory carving. Large-scale wall-paintings were much less regarded, crudely executed, and rarely mentioned in contemporary sources. They were probably seen as an inferior substitute for mosaic, which for the period must be considered a fine art, though in recent centuries mosaics have tended to be considered decorative.[citation needed] A similar fate has befallen tapestry, which late medieval and Renaissance royalty regarded as the most magnificent artform, and was certainly the most expensive. The term "ars sacra" ("sacred arts") is sometimes used for medieval christian art executed in metal, ivory, textiles, and other more valuable materials but not for rare secular works from that period.
The view of decoration as a 'lesser art' was formally challenged in the 1970s by writers and art historians like Amy Goldin[1] and Anne Swartz.[2] The argument for a singular narrative in art had lost traction by the close of the 20th century through post-modernist irony and increasing curatorial interest in street art and in ethnic decorative traditions. The Pattern and Decoration movement in New York galleries in the 1980s, though short-lived, opened the way to a more inclusive evaluation of the value of art objects.[3]
Influence of different materials
Modern understanding of the art of many cultures tends to be distorted by the modern privileging of fine visual arts media over others, as well as the very different survival rates of works in different media. Works in metal, above all in precious metals, are liable to be "recycled" as soon as they fall from fashion, and were often used by owners as repositories of wealth, to be melted down when extra money was needed. Illuminated manuscripts have a much higher survival rate, especially in the hands of the church, as there was little value in the materials and they were easy to store....Arts and Crafts movement
Arts and Crafts movement "Artichoke" wallpaper by Morris and Co.
The lower status given to works of decorative art in contrast to fine art narrowed with the rise of the Arts and Crafts movement. This aesthetic movement of the second half of the 19th century was born in England and inspired by the writings of Thomas Carlyle, John Ruskin and William Morris. The movement represented the beginning of a greater appreciation of the decorative arts throughout Europe. The appeal of the Arts and Crafts movement to a new generation led the English architect and designer Arthur Heygate Mackmurdo to organize the Century Guild for craftsmen in 1882, championing the idea that there was no meaningful difference between the fine and decorative arts. Many converts, both from professional artists' ranks and from among the intellectual class as a whole, helped spread the ideas of the movement.[4]
The influence of the Arts and Crafts movement led to the decorative arts being given a greater appreciation and status in society and this was soon reflected by changes in the law. Until the enactment of the Copyright Act 1911 only works of fine art had been protected from unauthorized copying. The 1911 Act extended the definition of an "artistic work" to include works of "artistic craftsmanship".
Mass production and customization
In the context of mass production and consumerism some individuals will attempt to create or maintain their lifestyle or to construct their identity when forced to accept mass-produced identical objects in their life. According to Colin Campbell in his piece “The Craft Consumer”,[7] this is done by selecting goods with specific intentions in mind to alter them. Instead of accepting a foreign object for what it is, the foreign object is incorporated and changed to fit one's lifestyle and choices, or customized.[citation needed]
One way to achieve a customized look and feel to common objects is to change their external appearance by applying decorative techniques, as in decoupage, art cars, truck art in South Asia and IKEA hacking." (wikipedia.)
"American craft is craft work produced by independent studio artists working with traditional craft materials and processes. Examples include wood (woodworking and furniture making), glass (glassblowing and lampworking), clay (ceramics), textiles, and metal (metalworking). Studio craft works tend to either serve or allude to a functional or utilitarian purpose, although they are just as often handled and exhibited in ways similar to visual art objects.
History
The American studio craft movement is a successor to earlier European craft movements. Modern studio crafts developed as a reaction to modernity and, particularly, the Industrial Revolution. During the nineteenth century, Scottish historian Thomas Carlyle and English social critic John Ruskin warned of the extinction of handicrafts in Europe. English designer and theorist William Morris continued this line of thought, becoming father of England's Arts & Crafts Movement. Morris distinguished the studio craftsman in this way: "[O]ur art is the work of a small minority composed of educated persons, fully conscious of their aim of producing beauty, and distinguished from the great body of workmen by that aim." Both European and American craft traditions have also been influenced by Art Nouveau. Both of these movements influenced the development of the contemporary studio craft movement in the United States during the late nineteenth century, throughout the twentieth century and to the present.
American craft pioneers
In the early nineteenth century it became popular for rural Americans of modest means to take the decoration of their homes and furniture into their own hands. The artist Rufus Porter was an early proponent of the American craft movement. In 1825 he published A Select Collection of Valuable and Curious Arts, and Interesting Experiments Which are Well Explained, and Warranted Genuine, and May be Prepared, Safely and at Little Expense, which is a book of instructions for domestic decorative arts, including wall, floor, and furniture painting.
By the end of the nineteenth century, the preindustrial craft trades had almost disappeared. Industrial expansion and westward movement had largely severed American culture from early Colonial American and Native American craft roots. Against this backdrop, Louis Comfort Tiffany was a pioneer of the American craft movement, arguing for the placement of well-designed and crafted objects in the American home. Tiffany's elegant stained glass creations were influenced by the values of William Morris and became America's leading embodiment of art nouveau.
Gustav Stickley, the cabinetmaker, was an early leader in the development of Studio Furniture and the American craft movement. Stickley's designs were distinguished by their simplicity and by their harmony between interior decorative art and architecture. Stickley's magazine, "The Craftsman," was a forum for this movement from 1901 through 1916. Originally focused on expounding ideas from the England's Arts and Crafts Movement, "The Craftsman" increasingly developed American craft concepts over the years of its publication. Stickley's ideas later had influence on Frank Lloyd Wright and future generations of American craftsmen, artists and architects.
The Roycroft movement was an American adaptation of the British arts and crafts movement founded by Elbert Hubbard and his wife Bertha Crawford Hubbard in the small-town of East Aurora, New York in 1895. Its focus was on writing and publishing ornate books, but it also made furniture and metal products. Roycroft was organized as a living/working artisans' community along the lines of a Medieval European guild....The 1950s and Peter Voulkos
Main article: Peter Voulkos
Peter Voulkos (left) assisted by John Balistreri.
During the 1950s, some artists turned to the truth-to-materials doctrine.[citation needed] This movement entailed an emphasis on the collective production of crafts work. Craftsmen sometimes worked together during this period to develop more ambitious projects. Throughout the 1950s and afterwards, potter Peter Voulkos developed increasingly largescale and nontraditional ceramic works, influenced by Abstract Expressionism, which transformed traditional understandings of the craft media. Like the Abstract Expressionists, Voulkos emphasized performance, process and primal expression in his ceramic forms. In some cases, Voulkos deconstructed and reconstructed traditional ceramic vessel forms such as plates, ice buckets, and tea bowls. In other works, Voulkos created new nonutilitarian forms, such as his purely sculptural, large-scale cylindrical "stacks."
Voulkos was also influenced by Zen Buddhism after a 1952 encounter with Japanese potter Shoji Hamada. Hamada encouraged Voulkos to embrace a Zen approach to ceramics based not only upon technical proficiency but also upon a mental and spiritual union between creator and art object. Voulkos later cited Hamada's statement that it "took him ten years to learn the potter's wheel and another ten years to forget it"—an insight that inspired Voulkos' early attempts to fully form a teapot in two minutes.[1]
Voulkos taught at Black Mountain College in 1953, where he was further exposed to the avant-garde movements. In 1954, he founded the ceramics department at the Otis College of Art and Design (then called the Los Angeles County Art Institute). In California, Voulkos' pottery rapidly became abstract and sculptural. Voulkos then moved to the University of California, Berkeley, where he founded another ceramics department and taught from 1959 until 1985. At Berkeley, Voulkos became increasingly prominent for his massive, cracked and slashed pots.
The 1960s and the new glassblowing movement
The culture of the 1960s was even more conducive to the development of studio crafts. This period saw a rejection of materialism and exploration of alternative ways of living. For some, the creation of handicrafts provided just such an outlet. In 1962, then-ceramics professor Harvey Littleton and chemist Dominick Labino began the contemporary glassblowing movement. The impetus for the movement consisted of their two workshops at the Toledo Museum of Art, during which they began experimenting with melting glass in a small furnace and creating blown glass art. Thus Littleton and Labino were the first to make molten glass feasible for artists in private studios. Harvey Littleton extended his influence through his own important artistic contributions and through his teaching.[2] Over the years, Harvey Littleton trained many of the most important contemporary glass artists, including Marvin Lipofsky, Sam Herman (Britain), Fritz Dreisbach and Dale Chihuly. These Littleton students in turn developed the new movement and spread it across the country. Marvin Lipofsky, for example, is credited with being one of the founders of the Glass Art Society and introducing studio glass to California. In 1967, Lipofsky founded the glass program at the California College of Arts and Crafts, which he headed for two decades.
In 1971, Dale Chihuly and Ruth Tamura began the influential Pilchuck Glass School near the rural town of Stanwood, Washington, financially supported by John and Anne Hauberg who supported the idea for a glass-blowing summer school program in the rural Northwest. The subsequent development of this program became the Pilchuck Glass School. Influenced by the Haystack Mountain School of Crafts (the first school to have a glass furnace), and the Penland School of Crafts, Pilchuck Glass School has become a center of the contemporary American studio glass movement, of which Chihuly is a leading figure. Artist Toots Zynsky, a Pilchuck pioneer, observed that the choice of a Western location for the school reflected a conscious rejection of the Eastern art establishment. The naming of the school also reflected the founders' countercultural attraction to Native American culture. Chihuly chose the name "Pilchuck," derived from the Chinookan words for "red" and "water," alluding to the iron-rich waters of the nearby Pilchuck River." (wikipedia.)
"A handicraft is a traditional main sector of craft making and applies to a wide range of creative and design activities that are related to making things with one's hands and skill, including work with textiles, moldable and rigid materials, paper, plant fibers, clay, etc. One of the oldest handicraft is Dhokra; this is a sort of metal casting that has been used in India for over 5,000 years and is still used. In Iranian Baluchistan, women still make red ware hand-made pottery with dotted ornaments, much similar to the 4,000-year-old pottery tradition of Kalpurgan, an archaeological site near the village. Usually, the term is applied to traditional techniques of creating items (whether for personal use or as products) that are both practical and aesthetic. Handicraft industries are those that produce things with hands to meet the needs of the people in their locality without using machines.[1][2][3][4]
Collective terms for handicrafts include artisanry, crafting, and handcrafting. The term arts and crafts is also applied, especially in the United States and mostly to hobbyists' and children's output rather than items crafted for daily use, but this distinction is not formal, and the term is easily confused with the Arts and Crafts design movement, which is in fact as practical as it is aesthetic.
Handicraft has its roots in the rural crafts—the material-goods necessities—of ancient civilizations, and many specific crafts have been practiced for centuries, while others are modern inventions or popularizations of crafts which were originally practiced in a limited geographic area.
Many handcrafters use natural, even entirely indigenous, materials while others may prefer modern, non-traditional materials, and even upcycle industrial materials. The individual artisanship of a handcrafted item is the paramount criterion; those made by mass production or machines are not handicraft goods.
Seen as developing the skills and creative interests of students, generally and sometimes towards a particular craft or trade, handicrafts are often integrated into educational systems, both informally and formally. Most crafts require the development of skill and the application of patience but can be learned by virtually anyone.
Like folk art, handicraft output often has cultural and/or religious significance, and increasingly may have a political message as well, as in craftivism. Many crafts become very popular for brief periods of time (a few months, or a few years), spreading rapidly among the crafting population as everyone emulates the first examples, then their popularity wanes until a later resurgence.
The Arts and Crafts movement in the West
Main article: Arts and Crafts movement
The Arts and Crafts movement originated as a late-19th-century design reform and social movement principally in Europe, North America and Australia, and continues today. Its proponents are motivated by the ideals of movement founders such as William Morris and John Ruskin, who proposed that in pre-industrial societies, such as the European Middle Ages, people had achieved fulfillment through the creative process of handicrafts. This was held up in contrast to what was perceived to be the alienating effects of industrial labor.
These activities were called crafts because originally many of them were professions under the guild system. Adolescents were apprenticed to a master craftsman and refined their skills over a period of years in exchange for low wages. By the time their training was complete, they were well equipped to set up in trade for themselves, earning their living with the skill that could be traded directly within the community, often for goods and services. The Industrial Revolution and the increasing mechanization of production processes gradually reduced or eliminated many of the roles professional craftspeople played, and today many handicrafts are increasingly seen, especially when no longer the mainstay of a formal vocational trade, as a form of hobby, folk art and sometimes fine art.
The term handicrafts can also refer to the products themselves of such artisanal efforts, that require specialized knowledge, maybe highly technical in their execution, require specialized equipment and/or facilities to produce, involve manual labor or a blue-collar work ethic, are accessible to the general public, and are constructed from materials with histories that exceed the boundaries of Western "fine art" tradition, such as ceramics, glass, textiles, metal and wood. These products are produced within a specific community of practice, and while they mostly differ from the products produced within the communities of art and design, the boundaries often overlap, resulting in hybrid objects. Additionally, as the interpretation and validation of art is frequently a matter of context, an audience may perceive handcrafted objects as art objects when these objects are viewed within an art context, such as in a museum or in a position of prominence in one's home.
In modern education
Simple "arts and crafts" projects are a common elementary and middle school activity in both mainstream and alternative education systems around the world.
In some of the Scandinavian or Nordic countries, more advanced handicrafts form part of the formal, compulsory school curriculum, and are collectively referred to as slöjd in Swedish, and käsityö in Finnish. Students learn how to work mainly with metal, textile and wood, not for professional training purposes as in American vocational–technical schools, but with the aim to develop children's and teens' practical skills, such as everyday problem-solving ability, tool use, and understanding of the materials that surround us for economical, cultural and environmental purposes.
Secondary schools and college and university art departments increasingly provide elective options for more handicraft-based arts, in addition to formal "fine arts", a distinction that continues to fade throughout the years, especially with the rise of studio craft, i.e. the use of traditional handicrafts techniques by professional fine artists.
Many community centers and schools run evening or day classes and workshops, for adults and children, offering to teach basic craft skills in a short period of time.
Handicraft production
Handicraft production is a small–scale production of products using manual labor. It was especially common in the Middle Ages, during the era of the Industrial Revolution it was mainly supplanted by mass production, however, it still exists for the production of goods such as luxury goods.[5] The "handmade effect" is a phenomenon where consumers exhibit a preference for products that are crafted by human labor rather than produced through automated or robotic processes. This preference is particularly pronounced for products with higher symbolic value, where expressing one's beliefs and personality holds greater significance. Consumers, especially in contexts emphasizing symbolic consumption, have a stronger motivation for uniqueness and associate human labor more closely with product uniqueness. In product categories where mechanical production is common, consumers are more attracted to products labeled as handmade.[6] The positive handmade effect on product attractiveness is driven, in large part, by the perception that handmade products symbolically "contain love." The handmade effect is influenced by two key factors. Firstly, consumers express stronger intentions to purchase handmade products when buying gifts for loved ones, compared to more distant recipients. Secondly, they are willing to pay a higher price for handmade gifts when the purchase is motivated by the desire to convey love rather than simply acquiring the best-performing product.[7]
The handicraft method of production has been used by people since ancient times. Initially, people engaged in handicraft production aimed to satisfy the needs of their own economy, however, with the development of commodity–money relations, an increasing number of goods produced by them began to be supplied to the market. Mostly these were household products: dishes, furniture, jewelry, souvenirs, clothes, shoes. However, over time....Some state economies, such as that of Vietnam, are largely based on handicraft production. For example, in the 1950s in North Vietnam, there were more than 100,000 handicraft enterprises. In the early 1970s, even before the end of the war, handicraft production provided about half of all the products of the local industry and almost a third of the total industrial production of the republic. By 1977, after the reunification of Vietnam, there were 700,000 handicraftsmen in South Vietnam.[10]
Handicraft production in Nepal withstands competition with industrial production and foreign goods, which is explained not only by economic and natural–geographical factors, but also by the support and encouragement of the handicraft industry from the state....Using paper or canvas
Altered books
Artist trading cards
Assemblage, collage in three dimensions
Bookbinding
Cardmaking
Collage
Décollage
Decoupage
Embossing paper
Iris folding
Origami or paper folding
Paper craft generally
Paper making
Paper marbling
Paper modeling, paper craft or card modeling
Papier-mâché
Parchment craft
Pop-up books
Quilling or paper filigree
Rubber/acrylic stamping
Scrapbooking" (wikipedia.)
"The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles[1] and subsequently spread across the British Empire and to the rest of Europe and America.[2]
Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced,[3] the movement flourished in Europe and North America between about 1880 and 1920. Some consider that it is the root of the Modern Style, a British expression of what later came to be called the Art Nouveau movement.[4] Others consider that it is the incarnation of Art Nouveau in England.[5]
Others consider Art and Crafts to be in opposition to Art Nouveau.[6] Arts and Crafts indeed criticized Art Nouveau for its use of industrial materials such as iron. And as for Art Nouveau artists, the Arts and Crafts utopia was intrinsically contradictory: "the paradoxical confinement of the Arts & Crafts movement in an artisanal practice was completely out of step with the evolution of the status of the artist-decorator, but also with the democratic will of an art “for the people and by the people” proclaimed by William Morris".[7] For example if Henry van de Velde understands the social discourse of Arts and Crafts, he is not an unconditional disciple of it. And he will end up turning away from it, considering it as anachronistic and tinged with quixoticism.[8]
In Japan, it emerged in the 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation.[3][9] It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s,[1] and its influence continued among craft makers, designers, and town planners long afterwards.[10]
The term was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887,[11] although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of historian Thomas Carlyle, art critic John Ruskin, and designer William Morris.[12] In Scotland, it is associated with key figures such as Charles Rennie Mackintosh.[13] Viollet le Duc's books on nature and Gothique art also play an essential part in the esthetics of the Arts and Crafts movement.
Origins and influences
Design reform
The Arts and Crafts movement emerged from the attempt to reform design and decoration in mid-19th century Britain. It was a reaction against a perceived decline in standards that the reformers associated with machinery and factory production. Their critique was sharpened by the items that they saw in the Great Exhibition of 1851, which they considered to be excessively ornate, artificial, and ignorant of the qualities of the materials used. Art historian Nikolaus Pevsner writes that the exhibits showed "ignorance of that basic need in creating patterns, the integrity of the surface", as well as displaying "vulgarity in detail".[14]
Design reform began with Exhibition organizers Henry Cole (1808–1882), Owen Jones (1809–1874), Matthew Digby Wyatt (1820–1877), and Richard Redgrave (1804–1888),[15] all of whom deprecated excessive ornament and impractical or badly-made things.[16] The organizers were "unanimous in their condemnation of the exhibits."[17] Owen Jones, for example, complained that "the architect, the upholsterer, the paper-stainer, the weaver, the calico-printer, and the potter" produced "novelty without beauty, or beauty without intelligence."[17] From these criticisms of manufactured goods emerged several publications that set out what the writers considered to be the correct principles of design. Richard Redgrave's Supplementary Report on Design (1852) analysed the principles of design and ornament and pleaded for "more logic in the application of decoration."[16]
Other works followed in a similar vein, such as Wyatt's Industrial Arts of the Nineteenth Century (1853), Gottfried Semper's Wissenschaft, Industrie und Kunst ("Science, Industry and Art") (1852), Ralph Wornum's Analysis of Ornament (1856), Redgrave's Manual of Design (1876), and Jones's Grammar of Ornament (1856).[16] The Grammar of Ornament was particularly influential, liberally distributed as a student prize and running into nine reprints by 1910.[16]
Jones declared that ornament "must be secondary to the thing decorated", that there must be "fitness in the ornament to the thing ornamented", and that wallpapers and carpets must not have any patterns "suggestive of anything but a level or plain".[18] A fabric or wallpaper in the Great Exhibition might be decorated with a natural motif made to look as real as possible, whereas these writers advocated flat and simplified natural motifs. Redgrave insisted that "style" demanded sound construction before ornamentation, and a proper awareness of the quality of materials used. "Utility must have precedence over ornamentation."
However, the design reformers of the mid-19th century did not go as far as the designers of the Arts and Crafts movement. They were more concerned with ornamentation than construction, they had an incomplete understanding of methods of manufacture,[19] and they did not criticise industrial methods as such. By contrast, the Arts and Crafts movement was as much a movement of social reform as design reform, and its leading practitioners did not separate the two....Social and design principles
Unlike their counterparts in the United States, most Arts and Crafts practitioners in Britain had strong, slightly incoherent, negative feelings about machinery. They thought of 'the craftsman' as free, creative, and working with his hands, 'the machine' as soulless, repetitive, and inhuman. These contrasting images derive in part from John Ruskin's (1819–1900) The Stones of Venice, an architectural history of Venice that contains a powerful denunciation of modern industrialism to which Arts and Crafts designers returned again and again. Distrust for the machine lay behind the many little workshops that turned their backs on the industrial world around 1900, using preindustrial techniques to create what they called 'crafts.'
— Alan Crawford, "W. A. S. Benson, Machinery, and the Arts and Crafts Movement in Britain"[34]
Critique of industry
William Morris shared Ruskin's critique of industrial society and at one time or another attacked the modern factory, the use of machinery, the division of labour, capitalism and the loss of traditional craft methods. But his attitude to machinery was inconsistent. He said at one point that production by machinery was "altogether an evil",[14] but at others times, he was willing to commission work from manufacturers who were able to meet his standards with the aid of machines.[35] Morris said that in a "true society", where neither luxuries nor cheap trash were made, machinery could be improved and used to reduce the hours of labour.[36] Fiona MacCarthy says that "unlike later zealots like Gandhi, William Morris had no practical objections to the use of machinery per se so long as the machines produced the quality he needed."[37]
Morris insisted that the artist should be a craftsman-designer working by hand[14] and advocated a society of free craftspeople, such as he believed had existed during the Middle Ages. "Because craftsmen took pleasure in their work", he wrote, "the Middle Ages was a period of greatness in the art of the common people. ... The treasures in our museums now are only the common utensils used in households of that age, when hundreds of medieval churches – each one a masterpiece – were built by unsophisticated peasants."[38] Medieval art was the model for much of Arts and Crafts design, and medieval life, literature and building was idealised by the movement.
Morris's followers also had differing views about machinery and the factory system. For example, C. R. Ashbee, a central figure in the Arts and Crafts movement, said in 1888, that, "We do not reject the machine, we welcome it. But we would desire to see it mastered."[14][39] After unsuccessfully pitting his Guild and School of Handicraft guild against modern methods of manufacture, he acknowledged that "Modern civilisation rests on machinery",[14] but he continued to criticise the deleterious effects of what he called "mechanism", saying that "the production of certain mechanical commodities is as bad for the national health as is the production of slave-grown cane or child-sweated wares."[40] William Arthur Smith Benson, on the other hand, had no qualms about adapting the Arts and Crafts style to metalwork produced under industrial conditions. (See quotation box.)
Morris and his followers believed the division of labour on which modern industry depended was undesirable, but the extent to which every design should be carried out by the designer was a matter for debate and disagreement. Not all Arts and Crafts artists carried out every stage in the making of goods themselves, and it was only in the twentieth century that that became essential to the definition of craftsmanship. Although Morris was famous for getting hands-on experience himself of many crafts (including weaving, dying, printing, calligraphy and embroidery), he did not regard the separation of designer and executant in his factory as problematic. Walter Crane, a close political associate of Morris's, took an unsympathetic view of the division of labour on both moral and artistic grounds, and strongly advocated that designing and making should come from the same hand. Lewis Foreman Day, a friend and contemporary of Crane's, as unstinting as Crane in his admiration of Morris, disagreed strongly with Crane. He thought that the separation of design and execution was not only inevitable in the modern world, but also that only that sort of specialisation allowed the best in design and the best in making.[41]
Few of the founders of the Arts and Crafts Exhibition Society insisted that the designer should also be the maker. Peter Floud, writing in the 1950s, said that "The founders of the Society ... never executed their own designs, but invariably turned them over to commercial firms."[42] The idea that the designer should be the maker and the maker the designer derived "not from Morris or early Arts and Crafts teaching, but rather from the second-generation elaboration doctrine worked out in the first decade of [the twentieth] century by men such as W. R. Lethaby"." (wikipedia.)
"A craft or trade is a pastime or an occupation that requires particular skills and knowledge of skilled work. In a historical sense, particularly the Middle Ages and earlier, the term is usually applied to people occupied in small scale production of goods, or their maintenance, for example by tinkers. The traditional term craftsman is nowadays often replaced by artisan and by craftsperson.
Historically, the more specialized crafts with high-value products tended to concentrate in urban centers and their practitioners formed guilds. The skill required by their professions and the need to be permanently involved in the exchange of goods often demanded a higher level of education, and craftspeople were usually in a more privileged position than the peasantry in societal hierarchy. The households of artisans were not as self-sufficient as those of people engaged in agricultural work, and therefore had to rely on the exchange of goods. Some crafts, especially in areas such as pottery, woodworking, and various stages of textile production, could be practiced on a part-time basis by those also working in agriculture, and often formed part of village life.
When an apprentice finished their apprenticeship, they became a journeyman searching for a place to set up their own shop and make a living. After setting up their own shop, they could then call themselves a master of their craft.
This stepwise approach to mastery of a craft, which includes the attainment of some education and skill, has survived in some countries to the present day. But crafts have undergone deep structural changes since and during the era of the Industrial Revolution. The mass production of goods by large-scale industry has limited crafts to market segments in which industry's modes of functioning or its mass-produced goods do not satisfy the preferences of potential buyers. As an outcome of these changes, craftspeople today increasingly make use of semi-finished components or materials and adapt these to their customers' requirements or demands. Thus, they participate in a certain division of labour between industry and craft.
Nature of craft skill
The nature of craft skill and the process of its development are continually debated by philosophers, anthropologists, and cognitive scientists.[1] Some scholars note that craft skill is marked by particular ways of experiencing tools and materials, whether by allowing tools to recede from focal awareness,[2] perceiving tools and materials in terms of their practical interrelationships,[3] or seeing aspects of work that are invisible to the untrained observer.[4] Other scholars working on craft skill focus on observational learning and mimicry, exploring how learners visually parse the movements of experts.[5] Certain researchers even de-emphasize the role of the individual craftsperson, noting the collective nature of craft understanding[6] or emphasizing the role of materials as collaborators in the process of production.[7]
Classification
Main article: Outline of crafts
There are three aspects to human creativity:[according to whom?] art, crafts, and science. Roughly, art relies upon intuitive sensing, vision, and expression; crafts upon sophisticated technique; and science upon knowledge.
Handicraft
Main article: Handicraft
Handicraft is the "traditional" main sector of the crafts. It is a type of work where useful and decorative devices are made completely by hand or by using only simple tools. The term is usually applied to traditional means of making goods. The individual artisanship of the items is a paramount criterion, an such items often have cultural and/or religious significance. Items made by mass production or machines are not handicraft goods.
The beginning of crafts in areas like the Ottoman Empire involved the governing bodies[specify] requiring members of the city who were skilled at creating goods to open shops in the center of town. These people slowly stopped acting as subsistence farmers (who created goods in their own homes to trade with neighbors) and began to represent what we think of as "craftspeople" today.[8]
Besides traditional goods, handicraft contributes to the field of computing by combining craft practices with technology. For example, in 1968, the Apollo 8 spacecraft's core memory consisted of wires that were woven around and through electromagnetic cores by hand. The core rope memory they[specify] created contained information used to successfully complete the mission.[9]
Crafts and craftspeople have become a subject of academic study. For example, Stephanie Bunn was an artist before she became an anthropologist, and she went on to develop an academic interest in the process of craft. She argues that what happens to an object before it becomes a "product" is an area worthy of study.[10]
Mexican craft
The Arts and Crafts Movement
Main article: Arts and Crafts Movement
Woodworking being done in a workshop
The term crafts is used to describe artistic practices within the family of decorative arts that traditionally are defined by their relationship to functional or utilitarian products (such as sculptural forms in the vessel tradition) or by their use of such natural media as wood, clay, ceramics, glass, textiles, and metal.
The Arts and Crafts Movement originated in Britain during the late 19th century and was characterized by a style of decoration reminiscent of medieval times. The primary artist associated with the movement is William Morris, whose work was reinforced with writings from John Ruskin. The movement placed a high importance on the quality of craftsmanship, while emphasizing the importance for the arts to contribute to economic reform.
Studio crafts
Main article: Studio craft
Crafts practiced by independent artists working alone or in small groups are referred to as studio craft. Studio craft includes studio pottery, metalwork, weaving, woodturning, paper and other forms of woodworking, glassblowing, and glass art.
Craft fairs
A craft fair is an organized event to display and sell crafts. There are also craft stores where such goods are sold and craft communities, such as Craftster, where expertise is shared.
Tradesperson
Main article: Tradesperson
A tradesperson is a skilled manual worker in a particular trade or craft, with a high degree of both practical and theoretical knowledge of their trade. In cultures where professional careers are highly prized, there can be a shortage of skilled manual workers, leading to lucrative niche markets in the trades." (wikipedia.)
"An artisan (from French: artisan, Italian: artigiano) is a skilled craft worker who makes or creates material objects partly or entirely by hand. These objects may be functional or strictly decorative, for example furniture, decorative art, sculpture, clothing, food items, household items, and tools and mechanisms such as the handmade clockwork movement of a watchmaker. Artisans practice a craft and may through experience and aptitude reach the expressive levels of an artist.
History
The adjective "artisanal" is often used in describing hand-processing in contrast to an industrial process, such as in the phrase artisanal mining. Thus, "artisanal" is sometimes used in marketing and advertising as a buzz word to describe or imply some relation with the crafting of handmade food products, such as bread, beverages, cheese or textiles. Many of these have traditionally been handmade, rural or pastoral goods but are also now commonly made on a larger scale with automated mechanization in factories and other industrial areas.
Artisans were the dominant producers of commodities before the Industrial Revolution.
In ancient Greece, artisans were drawn to agoras and often built workshops nearby." (wikipedia.)
"Papier-mâché (UK: /ˌpæpieɪ ˈmæʃeɪ/, US: /ˌpeɪpər məˈʃeɪ/; French: [papje mɑʃe]; lit. 'chewed paper'), frequently written as paper mache, is a composite material consisting of paper pieces or pulp, sometimes reinforced with textiles, and bound with an adhesive, such as glue, starch, or wallpaper paste.
Papier-mâché sculptures are used as an affordable building material for a variety of traditional and ceremonial activities, as well as in arts and crafts. Many people use this as a form of decorative hobby.
Preparation methods
Papier-mâché with the strips method for the creation of a pig
Papier-mâché mask created with the pulp method
There are two methods to prepare papier-mâché. The first method makes use of paper strips glued together with adhesive, and the other uses paper pulp obtained by soaking or boiling paper to which glue is then added.
With the first method, a form for support is needed on which to glue the paper strips. With the second method, it is possible to shape the pulp directly inside the desired form. In both methods, reinforcements with wire, chicken wire, lightweight shapes, balloons or textiles may be needed.
The traditional method of making papier-mâché adhesive is to use a mixture of water and flour or other starch, mixed to the consistency of heavy cream. Other adhesives can be used if thinned to a similar texture, such as polyvinyl acetate (PVA) based glues (often sold as wood glue or craft glue). Adding oil of cloves or other preservatives, such as salt, to the mixture reduces the chances of the product developing mold. Methyl cellulose is a naturally mold free adhesive used in a ratio of one part powder to 16 parts hot water and is a popular choice because it is non-toxic, but is not waterproof.
For the paper strips method, the paper is cut or torn into strips, and soaked in the paste until saturated. The saturated pieces are then placed onto the surface and allowed to dry slowly. The strips may be placed on an armature, or skeleton, often of wire mesh over a structural frame, or they can be placed on an object to create a cast. Oil or grease can be used as a release agent if needed. Once dried, the resulting material can be cut, sanded and/or painted, and waterproofed by painting with a suitable water-repelling paint.[1] Before painting any product of papier-mâché, the glue must be fully dried, otherwise mold will form and the product will rot from the inside out.
For the pulp method, the paper is left in water at least overnight to soak, or boiled in abundant water until the paper breaks down to a pulp. The excess water is drained, an adhesive is added and the papier-mâché applied to a form or, especially for smaller or simpler objects, sculpted to shape....The Chinese during the Han dynasty appeared to be the first to use papier-mâché around 200 CE, not long after they learned how to make paper. They employed the technique to make items such as warrior helmets, mirror cases, or ceremonial masks.[citation needed]
Ancient Egypt
In ancient Egypt, coffins and death masks were often made from cartonnage—layers of papyrus or linen covered with plaster.
Middle and Far East
In Persia, papier-mâché has been used to manufacture small painted boxes, trays, étagères and cases. Japan and China also produced laminated paper articles using papier-mâché. In Japan and India, papier-mâché was used to add decorative elements to armor and shields.[2]
Kashmir
The papier-mâché technique was first adopted in Kashmir in the 14th century by Mir Sayyid Ali Hamadani, a Sufi mystic, who came to Kashmir during the late 14th century along with his followers, many of whom were craftsmen. These craftsmen used hand-made paper pulp from Iran.[3] Kashmir papier-mâché has been used to manufacture boxes (small and big), bowls, trays, étagères, useful and decorative items, models, birds and animals, vases, lights, corporate gifts and lot more. It remains highly marketed in India and Pakistan and is a part of the luxury ornamental handicraft market.[2] The product is protected under the Geographic Indication Act 1999 of Indian government, and was registered by the Controller General of Patents Designs and Trademarks during the period from April 2011 to March 2012 under the title "Kashmir Paper Machie".[4]
Europe
Papier-mâché has been used for doll heads, starting as early as 1540, molded in two parts from a mixture of paper pulp, clay, and plaster, and then glued together, with the head then smoothed, painted and varnished.[5]
In 16th century Germany, papier-mâché was used to create multiple copies of Protestant images, including Martin Luther. The North German sculptor Albert von Soest carved wooden molds which were used to made a plaster cast. This in turn was used to make many copies of the papier-mâché portrait[6]. There is an example in the Danish National Museum[7].
Starting around 1725 in Europe, gilded papier-mâché began to appear as a low-cost alternative to similarly treated plaster or carved wood in architecture. Henry Clay of Birmingham, England, patented a process for treating laminated sheets of paper with linseed oil to produce waterproof panels in 1772. These sheets were used for building coach-door panels as well as for other structural uses. Theodore Jennens patented a process in 1847 for steaming and pressing these laminated sheets into various shapes, which were then used to manufacture trays, chair backs, and structural panels, usually laid over a wood or metal armature for strength. The papier-mâché was smoothed and lacquered, or given a pearl-shell finish. The industry lasted through the 19th century.[8] Russia had a thriving industry in ornamental papier-mâché. A large assortment of painted Russian papier-mâché items appears in a Tiffany & Co. catalog from 1893.[9] Martin Travers, the English ecclesiastical designer, made much use of papier-mâché for his church furnishings in the 1930s.
Carton-pierre consists of papier-mâché imitating wood, stone or bronze, especially in architecture.
Mexico
Papier-mâché Catrinas, traditional figures for day of the dead celebrations in Mexico
Cartonería or papier-mâché sculpture is a traditional handcraft in Mexico. The papier-mâché works are also called "carton Piedra" (rock cardboard) for the rigidness of the final product.[1] These sculptures today are generally made for certain yearly celebrations, especially for the Burning of Judas during Holy Week and various decorative items for Day of the Dead. However, they also include piñatas, mojigangas, masks, dolls and more made for various other occasions. There is also a significant market for collectors as well. Papier-mâché was introduced into Mexico during the colonial period, originally to make items for church. Since then, the craft has developed, especially in central Mexico. In the 20th century, the creation of works by Mexico City artisans Pedro Linares and Carmen Caballo Sevilla were recognized as works of art with patrons such as Diego Rivera. The craft has become less popular with more recent generations, but various government and cultural institutions work to preserve it.
Paper boats
One common item made in the 19th century in America was the paper canoe, most famously made by Waters & Sons of Troy, New York. The invention of the continuous sheet paper machine allows paper sheets to be made of any length, and this made an ideal material for building a seamless boat hull. The paper of the time was significantly stretchier than modern paper, especially when damp, and this was used to good effect in the manufacture of paper boats. A layer of thick, dampened paper was placed over a hull mold and tacked down at the edges. A layer of glue was added, allowed to dry, and sanded down. Additional layers of paper and glue could be added to achieve the desired thickness, and cloth could be added as well to provide additional strength and stiffness. The final product was trimmed, reinforced with wooden strips at the keel and gunwales to provide stiffness, and waterproofed. Paper racing shells were highly competitive during the late 19th century. Few examples of paper boats survived. One of the best known paper boats was the canoe, the "Maria Theresa", used by Nathaniel Holmes Bishop to travel from New York to Florida in 1874–75. An account of his travels was published in the book Voyage of the Paper Canoe.[11][12]
Paper observatory domes
Papier-mâché panels were used in the late 19th century and early 20th century to produce lightweight domes, used primarily for observatories. The domes were constructed over a wooden or iron framework, and the first ones were made by the same manufacturer that made the early paper boats, Waters & Sons. The domes used in observatories had to be light in weight so that they could easily be rotated to position the telescope opening in any direction, and large enough so that it could cover the large refractor telescopes in use at the time.[13][14][15]
Applications
With modern plastics and composites taking over the decorative and structural roles that papier-mâché played in the past, papier-mâché has become less of a commercial product. There are exceptions, such as Micarta, a modern paper composite, and traditional applications such as the piñata. It is still used in cases where the ease of construction and low cost are important, such as in arts and crafts.
Carnival floats
Papier-mâché is commonly used for large, temporary sculptures such as Carnival floats. A basic structure of wood, metal and metal wire mesh, such as poultry netting, is covered in papier-mâché. Once dried, details are added. The papier-mâché is then sanded and painted. Carnival floats can be very large and comprise a number of characters, props and scenic elements, all organized around a chosen theme. They can also accommodate several dozen people, including the operators of the mechanisms. The floats can have movable parts, like the facial features of a character, or its limbs. It is not unusual for local professional architects, engineers, painters, sculptors and ceramists to take part in the design and construction of the floats. New Orleans Mardi Gras float maker Blaine Kern, operator of the Mardi Gras World float museum, brings Carnival float artists from Italy to work on his floats.[16][17]
Costuming and the theatre
Creating papier-mâché masks is common among elementary school children and craft lovers. Either one's own face or a balloon can be used as a mold. This is common during Halloween time as a facial mask complements the costume.[18]
Papier-mâché is an economical building material for both sets and costume elements.[1][19] It is also employed in puppetry. A famous company that popularized it is Bread and Puppet Theater founded by Peter Schumann....Combat decoy
From about 1915 in World War I, the British were beginning to counter the highly effective sniping of the Germans. Among the techniques the British developed was to employ papier-mâché figures resembling soldiers to draw sniper fire. Some were equipped with an apparatus that produced smoke from a cigarette, to increase the realism of the effect. Bullet holes in the decoys were used to determine the position of enemy snipers who had fired the shots. Very high success rates were claimed for this experiment." (wikipedia.)